Posts Tagged ‘Marion Cotillard’


Macbeth (Justin Kurzel, 2015)

November 10, 2015


Like its eponymous character, Justin Kurzel’s adaptation of Macbeth is a film pulled in myriad directions for a sense of purpose. It is faithful to Shakespeare’s text in many ways, including period setting, but the film also cuts iconic moments (no “something wicked this way comes”) and reframes many a key scene with notably different staging. Macbeth keeps Shakespeare’s dialogue, but the stars will often deliver the lines at considerably more guttural and mumbling pitches than you’re likely to find on stage.

Kurzel’s film veers from being upfront and unapologetic about its protagonist’s gory rise to power in some sequences (something carried over from the director’s debut, Snowtown), but then dilutes other moments of violence with editorial embellishments that pull back from the horror. The combat sequences range from thrashing Lord of the Rings or Game of Thrones-esque melee to slo-mo sword-swinging somewhat akin to 300 (which Macbeth star Michael Fassbender was actually in), thankfully minus the part where it looks like a computer vomited up bronzer…

Click for the full review for Vague Visages


Rust and Bone (Jacques Audiard, 2012)

November 23, 2012

After a strong first act with engaging moral suspense and an arresting murder sequence, Jacques Audiard’s previous film A Prophet devolved into flat, familiar territory for a prison-survival tale. Not helped by star Tahir Rahim’s blank qualities, each development in the film’s narrative suggested increasing aimlessness, shirking much of the moral compass exploration and losing an apparent sense of purpose. His latest film Rust and Bone has a similar problem, though to greater detriment; by its conclusion, it is difficult to comprehend what unifying idea actually drives its outright silly narrative…

Full review at Sound on Sight


Public Enemies (Michael Mann, 2009)

January 13, 2012

Originally written for a long abandoned former blog back in July 2009
(I must admit that I do have a relatively strong inclination to revisit this film to see if I would now like it, considering changes in my taste over the last few years.)

Michael Mann’s intention with his use of the same digital approach incorporated in his previous outing, Miami Vice, for this film was, from my understanding, to make it feel like the audience is in the 1930s, rather than simply observing it; to potentially involve them with the characters on a more “close-up” level. There are definitely some notable highs with the film’s technical elements, including a tremendous sounding and thrilling shootout between John Dillinger (Johnny Depp), Baby Face Nelson (Stephen Graham), their gang and a FBI squad led by Melvin Purvis (Christian Bale). The low points are some unfortunately grainy indoor shots and quite a few instances of dropping sound levels, mostly in the first half. Overall though, Mann’s particular digital approach is a fairly unique and interesting approach. The film’s main problem is that the supposed intention for the digital approach, as previously cited, is never achieved. This is actually not the fault of the technology, but of much of what the rest the film has to offer. Read the rest of this entry ?