ModdedCentipede
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Post by ModdedCentipede on Jan 10, 2021 11:16:00 GMT
Thiis week, we examine a movie that can be summed up to "a long shot".  Chosen by: dschult3Year: 2019 Starring: Dean-Charles Chapman, George MacKay, Daniel Mays Directed by: Sam Mendes Written by: Krysty Wilson-Cairns, Sam Mendes |
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Balder
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Post by Balder on Jan 10, 2021 12:19:26 GMT
I watched this back when it came out and it's pretty good. I'd like to rewatch it some day. Anyways, here's a review I wrote back then:
"1917 was a very big contender for the Academy Award for Best Picture, but I am glad that Parasite won over it. 1917 is a great movie, but Parasite was something completely unique. That is my main criticism with 1917, it is just a little bit too anonymous. The story and the film's characters are things I have seen many times before in many other movies. The film is essentially a Lord of the Rings journey, and while that is something I have seen before, it does not mean that 1917 does not pull it off, because it certainly does. The cinematography, ho-ly shit is it great. Roger A. Deakins is an immortal legend, and 1917 is one of his best work yet in my opinion. It does not beat out Blade Runner 2049 in that regard, but Deakins just mesmerizes me with every frame he creates. The the scale, the chaos and the beauty of war are all present and they blow me away. The night flare scene in particular is magnificent in every way. As far as a war movie, 1917 does everything right, but again, I wish it gave me something more unique in terms of a story and characters or character interactions. Fantastic film, should be watched simply because how beautiful it is." 4/5
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centipede
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Post by centipede on Jan 11, 2021 11:57:22 GMT
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scipioafricanus
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Post by scipioafricanus on Jan 11, 2021 22:55:16 GMT
So not standard post 1970, "Lions lead by Donkey" affair?
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stratogustav
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Post by stratogustav on Jan 11, 2021 23:22:16 GMT
My official rating for 1917 is 8.7, the movie is solid, and I admit it almost made me cry when the first dude dies, seriously I was sad in that scene. I also like the cinematography, it makes it look like it was taken in two shots, which is appropriate for an intermission, although to be enjoyed the movie must be watched from the beginning to the end. A movie like Rome has better cinematography because of the level of detail and realism, but this comes pretty close, the cinematography is outstanding, almost like you are in some sort of VR experience. The scene with the milk and the baby was pretty fantastic, I almost thought I was watching Quarón for a second. The Atmos is great, that dirt in the cave is falling right on top of you, and it has a really nice picture quality, so the technicalities are all solid, although I do wish it had IMAX ratios instead, but this is good too. I really love the heroic emotional scene at the end where everyone just jumps to battle. I definitely recommend it, it shows good movies are still been made. |
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dschult3
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Post by dschult3 on Jan 12, 2021 0:29:20 GMT
I liked this move a lot. The movie is World War I. It is masterfully crafted without a narrative full of morals or preachy judgments. It is a thrilling ride, and you can never relax and look away for just a second. So much is happening here. Balder and stratogustav, you did a great job in explaining it, so there isn't really a need to repeat what you two said. War is truly hell, but you can't actually sit down and contemplate what has happened while in a combat zone. After the spoiler hidden by stratogustav, an officer talks about how it is unwise to dwell on it. The protagonist learns the hard way, and the adventure continues. I love how this was directed, and the cinematography is unparalleled for a war movie. I couldn't believe how large the sets were while watching "the making of" segment. The trenches were massive, and the underground bunkers were fantastic. No man's land is horrendously realistic, and the combat action during the climax is exhilarating. What a masterpiece. I thoroughly recommend this movie. |
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Balder
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Post by Balder on Jan 12, 2021 9:16:05 GMT
My official rating for 1917 is 8.7, the movie is solid, and I admit it almost made me cry when the first dude dies, seriously I was sad in that scene. I also like the cinematography, it makes it look like it was taken in two shots, which is appropriate for an intermission, although to be enjoyed the movie must be watched from the beginning to the end. A movie like Rome has better cinematography because of the level of detail and realism, but this comes pretty close, the cinematography is outstanding, almost like you are in some sort of VR experience. The scene with the milk and the baby was pretty fantastic, I almost thought I was watching Quarón for a second. The Atmos is great, that dirt in the cave is falling right on top of you, and it has a really nice picture quality, so the technicalities are all solid, although I do wish it had IMAX ratios instead, but this is good too. I really love the heroic emotional scene at the end where everyone just jumps to battle. I definitely recommend it, it shows good movies are still been made. The baby scene is the only scene I wish that they cut from the movie though. Many other people has expressed similar opinions as that scene is so melodramatic and it takes me out of the experience. |
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stratogustav
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Post by stratogustav on Jan 12, 2021 9:33:08 GMT
The baby scene is the only scene I wish that they cut from the movie though. Many other people has expressed similar opinions as that scene is so melodramatic and it takes me out of the experience. I respectfully disagree, it gave a lot of soul to the movie. Plus that baby could had died, and he happened to pickup fresh milk, almost as if the story was written before it happened, he lost a friend, but saved a life, maybe not the squadron, but that baby.
It certainly gives realism to the movie because those coincidences are part of every day life, and that made it more special. I also forgot to say that I don't know if Mendes did it unintentionally or at purpose, but the baby scene gives an actual cool message to the pacing of the movie. It makes the cinematography mean something, which is that just like the cinematography of the movie doesn't stop, our lives are the same way, we lose friends along the way, we encounter people, and we contribute to life to go on. The only time life really stops is when we sleep, just like the first take of the movie was cut off when he slept. And it goes deeper in saying that oftentimes we are the ones that mentally divide the pacing of life in smaller sections. We humans are so stupid that just entering through a door to a room is enough to make us think we also entered to a different section in our lives. For example like during the day going to work, or in a bigger picture going through college for example, but that's just make believe. In reality our lives are lived in a single take through all those moments even if they may appear random or out of place, they're not, they are linked, and part of the whole. It is a beautiful message to say the least. It definitely increases the rating of the movie a lot. |
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dschult3
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Post by dschult3 on Jan 12, 2021 21:40:59 GMT
The baby scene is the only scene I wish that they cut from the movie though. Many other people has expressed similar opinions as that scene is so melodramatic and it takes me out of the experience. I respectfully disagree, it gave a lot of soul to the movie. Plus that baby could had died, and he happened to pickup fresh milk, almost as if the story was written before it happened, he lost a friend, but saved a life, maybe not the squadron, but that baby.
It certainly gives realism to the movie because those coincidences are part of every day life, and that made it more special. I also forgot to say that I don't know if Mendes did it unintentionally or at purpose, but the baby scene gives an actual cool message to the pacing of the movie. It makes the cinematography mean something, which is that just like the cinematography of the movie doesn't stop, our lives are the same way, we lose friends along the way, we encounter people, and we contribute to life to go on. The only time life really stops is when we sleep, just like the first take of the movie was cut off when he slept. And it goes deeper in saying that oftentimes we are the ones that mentally divide the pacing of life in smaller sections. We humans are so stupid that just entering through a door to a room is enough to make us think we also entered to a different section in our lives. For example like during the day going to work, or in a bigger picture going through college for example, but that's just make believe. In reality our lives are lived in a single take through all those moments even if they may appear random or out of place, they're not, they are linked, and part of the whole. It is a beautiful message to say the least. It definitely increases the rating of the movie a lot. My wife was scared that someone would come in and start shooting and the baby or the caretaker would get it. Then she told me that they need to meet up and get married after adopting the baby. Her optimism is nice, but that would have ruined the experience for me, since it would be a typical Hollyweird ending.
Me personally? I don't know how I felt about that scene. Balder is right, because it did stick out like a sore thumb, BUT it added tension. Combat in an urban environment does bring up oddball situations like that, so it isn't unrealistic. I did feel myself get tense while it was "calm" because this movie really did like to surprise you. |
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Post by winnersdontusedrugs on Jan 12, 2021 21:46:52 GMT
I liked 1917, but it feels like two different movies that are almost at odds with eachother. One is a sober look at an infantryman's experience, and the other is a cinematic spectacle. I enjoyed both on their own, but there's a titanic shift this movie takes starting from the night flare scene. It goes beyond what you'd expect from a movie climax, and ditches the world it had been building for the previous hour or so.
The first half of 1917 plays out like a soldier's account of the war (seeing as how it was based off a real story). The scope of the story is narrowed to focus solely on our initial two protagonists, which is a ballsy thing to do in a war movie. There is a Micheal Bay spectacle or two during this period, but for the most part, the enemy commands fear without being on screen. 1917 manages to remain engaging even during it's slowest moments, without relying on frequent combat or inter-character drama. I feel like this is where the real cinematic achievement of this movie lies. For that first half, 1917 doesn't try to inject traditional storytelling drama to keep the viewers awake, nor does it have a grand message it wants to get across. It instead stays closer to the genuine infantryman experience, and keeps the audience engaged because it can portray all the anxiety and exhaustion that those two soldiers feel.
Once our boy started running through a WWI battlefield perpendicular to his comrades, any trace of the first half's soul has been eradicated from the movie. The protagonist is now far removed from the struggles of his fellow man. The horrors of WWI are now a mere backdrop as he pursues his goal unimpeded. All of the built up tension is gone, because it's clear our boy isn't going to be hit by any of these shells or bullets. Yes there's a narrative reason for this spectacle, and maybe there's a good argument about how it also serves as subtext, illustrating that the protagonist has fully shed away military protocol and self-preservation in his desperation to see his mission through. The second half still makes for a competent film, but I feel like something was lost in translation once the action started picking up.
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Balder
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Post by Balder on Jan 12, 2021 21:50:33 GMT
I respectfully disagree, it gave a lot of soul to the movie. Plus that baby could had died, and he happened to pickup fresh milk, almost as if the story was written before it happened, he lost a friend, but saved a life, maybe not the squadron, but that baby.
It certainly gives realism to the movie because those coincidences are part of every day life, and that made it more special. I also forgot to say that I don't know if Mendes did it unintentionally or at purpose, but the baby scene gives an actual cool message to the pacing of the movie. It makes the cinematography mean something, which is that just like the cinematography of the movie doesn't stop, our lives are the same way, we lose friends along the way, we encounter people, and we contribute to life to go on. The only time life really stops is when we sleep, just like the first take of the movie was cut off when he slept. And it goes deeper in saying that oftentimes we are the ones that mentally divide the pacing of life in smaller sections. We humans are so stupid that just entering through a door to a room is enough to make us think we also entered to a different section in our lives. For example like during the day going to work, or in a bigger picture going through college for example, but that's just make believe. In reality our lives are lived in a single take through all those moments even if they may appear random or out of place, they're not, they are linked, and part of the whole. It is a beautiful message to say the least. It definitely increases the rating of the movie a lot. My wife was scared that someone would come in and start shooting and the baby or the caretaker would get it. Then she told me that they need to meet up and get married after adopting the baby. Her optimism is nice, but that would have ruined the experience for me, since it would be a typical Hollyweird ending.
Me personally? I don't know how I felt about that scene. Balder is right, because it did stick out like a sore thumb, BUT it added tension. Combat in an urban environment does bring up oddball situations like that, so it isn't unrealistic. I did feel myself get tense while it was "calm" because this movie really did like to surprise you. Haha, your wife's optimism is unparalleled by us jaded fucks. Anyways, Sean Baker has got my back (quoting his review): "My fave sequence is definitely the plane crash and my least fave was the baby lullaby scene. " |
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Balder
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Post by Balder on Jan 12, 2021 21:56:33 GMT
I liked 1917, but it feels like two different movies that are almost at odds with eachother. One is a sober look at an infantryman's experience, and the other is a cinematic spectacle. I enjoyed both on their own, but there's a titanic shift this movie takes starting from the night flare scene. It goes beyond what you'd expect from a movie climax, and ditches the world it had been building for the previous hour or so. The first half of 1917 plays out like a soldier's account of the war (seeing as how it was based off a real story). The scope of the story is narrowed to focus solely on our initial two protagonists, which is a ballsy thing to do in a war movie. There is a Micheal Bay spectacle or two during this period, but for the most part, the enemy commands fear without being on screen. 1917 manages to remain engaging even during it's slowest moments, without relying on frequent combat or inter-character drama. I feel like this is where the real cinematic achievement of this movie lies. For that first half, 1917 doesn't try to inject traditional storytelling drama to keep the viewers awake, nor does it have a grand message it wants to get across. It instead stays closer to the genuine infantryman experience, and keeps the audience engaged because it can portray all the anxiety and exhaustion that those two soldiers feel. Once our boy started running through a WWI battlefield perpendicular to his comrades, any trace of the first half's soul has been eradicated from the movie. The protagonist is now far removed from the struggles of his fellow man. The horrors of WWI are now a mere backdrop as he pursues his goal unimpeded. All of the built up tension is gone, because it's clear our boy isn't going to be hit by any of these shells or bullets. Yes there's a narrative reason for this spectacle, and maybe there's a good argument about how it also serves as subtext, illustrating that the protagonist has fully shed away military protocol and self-preservation in his desperation to see his mission through. The second half still makes for a competent film, but I feel like something was lost in translation once the action started picking up. Now this is a well written review. Good on you dude, you engage in more movie reviews. I'm not quite sure I 100% agree with you yet on your sentiment, however, it's an extremely interesting point your raising. I think I need to rewatch it, but there's something about the final scene like you said, it's not as in tone with the rest of the movie, but it's still good though. The night flare scene is my favorite as it's one of Deakin's best moments in his career.
On a sidenote, I must say, this thread has been one of the best movie discussions in this board yet. So many great responses from everyone. We're still reaching new heights as a forum despite not increasing in numbers.
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Post by winnersdontusedrugs on Jan 13, 2021 0:23:33 GMT
Balder Thanks for reading it and for the kind words. I rarely watch movies nowadays otherwise I'd be in these threads more often, this one turned out great so far.
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Balder
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Post by Balder on Jan 13, 2021 11:24:24 GMT
Balder Thanks for reading it and for the kind words. I rarely watch movies nowadays otherwise I'd be in these threads more often, this one turned out great so far. What are some of your favorite movies? |
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dschult3
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Post by dschult3 on Jan 13, 2021 23:18:59 GMT
Once our boy started running through a WWI battlefield perpendicular to his comrades, any trace of the first half's soul has been eradicated from the movie. I didn't really feel this way when it happened. Although it was fantastical, it was the culmination of his journey. I know this is based on real stories, so I have no idea if a messenger did something like this in World War 1, but after learning about the heroes of multiple wars (see Audie Murphy or John Basilone), there are some privileged few who don't meet the fate of probability.
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