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Shantih

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About Shantih

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    slightly linguistic inspector

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  • Interests
    My life's aims are strongly connected to the following:<br /><br />"The plain truth of the matter is that very few

Previous Fields

  • Occupation
    Writer / Student ministry
  • About my avatar
    I bet James Bond wants to be me when he grows up
  • Favorite movies
    The Indiana Jones trilogy Unbreakable Insomnia Mansfield Park The Best Years of Our Lives Blade Runner Sleeping Beauty
  • Favorite music
    Currently in my CD player: Laura - The Scissor Sisters Beautiful - Christian Aguielra (superior cover by Pete Foster) Thunderbirds - Busted The Power of Love - Huey Lewis and the News Wuthering Heights - Kate Bush
  • Favorite creative writing
    Arthurian legends, medieval and modern Victorian Gothic Occult mystery Childrens' fiction Quality television (Buffy, Angel etc.) and anything which says *something* C.S. Lewis. C.S. Lewis and more C.S. Lewis.
  • Favorite visual art
    Gustave le Gray
  1. It does look like on first appearences that they've done a US Fawlty Towers and removed Brent (i.e. It looks like the great Steve Carrell has been asked to play a too-good looking, too-comedien, more-palatable US Brent) but AintitCool has been positive and perhaps it's a case of the trailers being cut to include more gags and less of the 'naturalistic' stuff... We'll get a chance to see it here in the UK later in the year, BTW, has BBC3 has bought the series from NBC. Phil.
  2. Far too much American bias to be a completist's list. Where is the incredible Mysterious Cities of Gold? The toe-tapping Maid Marion and Her Merry Men and the transendent Littlest Hobo? Phil.
  3. I'm surprised you didn't mention it, gigi, but I wanted to put it forward for consideration anyway: Contact (1997) Phil.
  4. Yep, that's right. And it's closer to the historical evacuations which were done as a result of the commencement of hostilities and the threat of bombing, rather than as a result. But I think the movie's stance is defenceible given how even *that* little sequence is becoming increasingly alien to today's youth. (I remember watching that episode with my grandmother who filled me in on the context of the Blitz.) Although watching it back nowadays it still holds up very well. I guess I'm much less bothered by the embellishment of the Blitz and the war stuff which *does* fit into my own reading of Narnia than the seeming insistance of Richard Taylor et. al. to 'ground' the creatures of Narnia in their Greek origins rather than Lewis' more English intepretations, which *doesn't.* Peter's 'storybook' concerns ring home with me as well. Phil.
  5. There's also a quite simple narrative problem the film presents if it doesn't clarify the horrors of the Blitz: younger viewers in 2005 don't have a cultural reference point for being embroiled in a war or evacuation. Most British kids certainly don't have any concept of this procedure and, therefore, Americans (and, indeed, the rest of the film going world) won't either. It's important to clarify that the Pevensie's aren't on holiday at Professor Kirke's house. And that they've had to leave their families with the knowlede that they may not see them again. It's an immensly traumatic experience, especially for Lucy, which is why Peter and Susan are so willing to buy the idea that she may be play acting Narnia. (Also, as I mentionned elsewhere in this thread, there is an implicit suggestion in the books that Peter and Edmund are a little aggreived at leaving behind the excitement of a war for the countryside and would rather be in London. Their active involvement in the war in Narnia demonstrates to them what a horrific experience war is. Hence I have no problem at all with the film giving an extended treatment of the Blitz at its beginning) Phil.
  6. You can catch a clip of the segment on the Sixty Minutes website. The short clip of Anakin and Obi-Wan duelling furiously both with sabers and force pushes was pretty awesome. Has to be said, though, that typically for all prequel publicity, the focus of that particular segment wasn't the fight itself, the performances or the actors but how "super cool" it was that for a few seconds both Ewan and Hayden were replaced with digital doubles. Hmm. Phil.
  7. Well, Comic Relief didn't seem to suffer too much!... Didn't see his sketch this year with David Bowie but last Red Nose Day, Ricky Gervais (Brent) did a *terrific* little sketch mocking the whole "celebrities getting on their high horses to support charities" bit. Using his on camera trailer to sell The Office series 1 DVD and mocking a pre-Love Actually Richard Curtis. "Actually I'm just about to direct my first film..." "Oh, let me guess. A romantic comedy with Hugh Grant, eh? Playing a bumbling English guy? It's been done really, hasn't it?..." Phil.
  8. It is a fantastic trailer. And, yeah, I agree one thing Lucasfilm have always known how to do is cut a good trailer. But this one is *really* good. You've got the ever wonderful Ian McDiarmid as Palpatine taking up most of the screentime, you've got people in cloaks taking each other out with lightsabers and a a genuine sense of impending doom (the good kind) And here's what you *don't* get: no mawksih Anakin/Padme dialogue (barely a glimpse of Natalie Portman), barely frames of Grevious and none whatsoever of Jar Jar Binks. It's cut to give the message that this is a "serious" Star Wars where actors of the calibre of McDiarmid, McGregor and Jackson get to have proper confrontations and emotional content. That may not be what the film turns out to be (no, really?) but darn it, as a trailer it does the business and more. What's bad? Well, much of the compositing looks pretty bad. Again. Especially with the shot after shot of large CGI armied rushing each other down. Snore. What's good? Everything else. Especially the sensational moment Now *that's* something we haven't seen before. Phil.
  9. You can catch the trailer on Amazon.com. It looks great. Mos Def's in it quite a bit and I'm a lot more excited about his Ford Prefect as a result. And, perhaps most importantly of all, amongst the CGI razmataz, there are elements of it (such as the final scene with the 'Sideshow Bob rake joke') which look comfortingly cheap and as if they were filmed in a quary down the road from the studio. Just like the original series. Phil.
  10. Well, I think that is inherently naive. To be providing a certain type of service/be engaged in a certain activity, and to regard it as something else entirely. What we're never led to doubt, though, is that Vera's responce to that moment is anything other than genuine. However, remember that there's a duality in that moment: she's both coming to realise the consequences of her actions but also is realising that she's ruined her family's special day. We're not sure which she feels more sorry about. Indeed, the film is careful to point out that Vera may not feel remorse for what she does, and that perhaps she should not need to feel remorseful. (The film carefully leads up to the moment of Vera's gaol sentance, and everyone's reactions make it seem huge. But, then, we have that final scene in the prison where Vera compares sentances and suddenly hers seems barely significant. There's a feeling, perhaps even an expectancy, for these women to repeat the same cycle) Ignoring the fact that Vera Drake does the very obvious cinematic juxtaposition of "poor=nice, rich=bad" I think it does have enough complications in its class structure to avoid being stereotypical. Rather, Leigh tends to be archetypal. I think you're a little harsh on Frank. Who clearly feels some guilt and level of discomfort at being wealthier than Stan but who, when in Stan and Vera's house, is completley at home. And, critically, he remains there even when Vera's actions have made it clear that the simplicity of that family life is gone forever. Joyce is much more stereotypical but, however, I was never able to write her off entirely. I found myself wondering about her own family, since they're never mentionned and clearly not as much a part of her and Frank's lives as Stan and Vera. Is she jealous of Stan and Vera's family for having a family life she never had (and, hence, why she is so desperate to have a child and prove that she can be a loving mother) I'm probably reading too much into her, but I certainly couldn't *dismiss* her because her disdain at Stan and Vera's house is so at odds with everyone else in the room and I wanted to know why. As you say, the performances were so good that I think they naturally give everyone an interesting subtext that they wouldn't otherwise have.
  11. Shantih

    The Incredibles

    Absolutley and totally right, SDG. New Groove is one of my favourite animated films, ever. If only the Mouse had had the confidence in it to actually publicise the darn thing, it would have been Shrek a good few months before that film ever hit theatres. It was certainly just as savvy about the potentiol young adault animation audience as Pixar were. "Uh, I've been turned into a cow. Can I go home?" Phil.
  12. Oh, this is great, we should *so* do the marketing. "This Easter, hes back... With a vengance... With a grudge... And with a Passion..." Phil.
  13. Have you read Yvonne Tasker's BFI series entry on Silence of the Lambs, gigi? I think you've absolutley right: Lambs operates differently as both as a men's film and a women's film Lambs was one of those times when the Academy surprised everyone and managed to predict (or, perhaps, dictate) movie making for the next decade. You can see fingerprints of that film all through the nineties, both in the movies and on TV. To my mind, possibly the *best* Oscar choices the Academy ever made. Phil.
  14. Oh! Go on and spoil the whole thing for me, won't you?! Phil.
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