I mean, I've seen Scarface too. What's your point, Marty? Do you even have one?
2 comments:
Anonymous
said...
Now, I didn't think THE DEPARTED was the cinematic coming-of-Christ that so many have insisted it was (too stylized, not nearly enough risks), but I think this is actually pretty damn cool. Marty is trying to place this movie in a context that reaches way the fuck past Hong Kong hyperviolence, into the history of all cinema. And stories.
There's a lot of chatter online right now about these Xs. A LOT. And why?
There's approximately 1000 better manipulations of image in the best films of last year - say, Little Miss Sunshine, for example. But nothing so simple.
So, Marty is saying that The Departed and Scarface are crime films in the same lineage. And... don't we know that because they aare OBVIOUSLY crime films in the same lineage?
These Xs are (little more than) a meaningless, empty game, surely? An indulgence?
I'd like to see discussion and recognition of film craft elevated beyond a game of spot-the-X.
2 comments:
Now, I didn't think THE DEPARTED was the cinematic coming-of-Christ that so many have insisted it was (too stylized, not nearly enough risks), but I think this is actually pretty damn cool. Marty is trying to place this movie in a context that reaches way the fuck past Hong Kong hyperviolence, into the history of all cinema. And stories.
What is your point in challenging his?
There's a lot of chatter online right now about these Xs. A LOT. And why?
There's approximately 1000 better manipulations of image in the best films of last year - say, Little Miss Sunshine, for example. But nothing so simple.
So, Marty is saying that The Departed and Scarface are crime films in the same lineage. And... don't we know that because they aare OBVIOUSLY crime films in the same lineage?
These Xs are (little more than) a meaningless, empty game, surely? An indulgence?
I'd like to see discussion and recognition of film craft elevated beyond a game of spot-the-X.
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