Not Coming to a Theater Near You
What do you think she meant when she said “a huge black monster with giant claws”?
What do you think she meant when she said “a huge black monster with giant claws”?
The ability for me to think about this film after having seen it is something of a privilege, even though retrospect hasn’t yielded the kindest remarks. It’s an IN A WORLD WHERE [x] scenario, but I recall few recent films during which I have been as tense. The much-ballyhooed long shots herein make the viewer complicit in a flee from a terrorist attach, or a dawn escape from said terrorists—it is totally mesmerizing. The cinematography is the guiding factor here, as the film’s polemic attitudes toward democracy and immigration merely contribute to the danger and urgency the long shots take us through: the “fugees” stripped to their underwear as a deportation bus roves past them, the government-issued suicide kits seen in the periphery, or the urban war that occurs during the explosive final half-hour. These elements don’t enhance the priority in ONE MAN’s plight to deliver the world’s only pregnant woman to a group of benevolent scientists—they serve to punctuate the difficulty of such a mission. An Inconvenient Truth is the more effective parable, but no new film has conjured as intense an emotional response in me.
Tom’s thoughts | Jenny’s thoughts
by Rumsey Taylor | Source: Universal Pictures 35mm print
03 Jan 2007 12:54 PM | Comments (1)
A second viewing is definitely in order. I can’t quite tell if I found parts of it simply hollow (at first glance, it seems that the rough outline presented in the preview is in fact the entirety of the film), or that it was almost too effective to be taken in properly all at once. That ghetto shootout is possibly the scene of the year; GoodFellas’ Copacabana sequence looks like the stuff of playschool by comparison.
rob
3 January 2007
10:40 AM
Website