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>>>Acting = poor > >Clive Owen is a quality actor. This is not a quality >performance.
Respectfully strongly disagreed. When the shot is a long take, it's on the actor for rhythm (the director can't modify rhythm through editing); in my mind, Clive came through on that. Even if you thought Clive was weak in being the rhythm for the long takes, I still think it's at least commendable to be willing to take on the responsibility. As for Owen's performance, I think he was wonderful with his body language and facial expressions (or lack thereof in some cases).
As for the cast as whole, they're not so bad that I think one can reasonably call it "poor." Now by "poor" I'm talking about bad acting in student films - none of that in the movie.
>>>Script = half-assed >As stated previously, we hear the name The Human Project but >have no idea what they do. You have a very strong concept >squandered with chase/war scenes and needless, half-assed >comedy.
Half-ass as in giving less than their all? Disagreed. It's not a probing sci-fi movie; it's a war/action thriller with a sci-fi premise. Judge the film on its own terms (not on what you think it should be) as a war/action thriller and it's not a half-ass effort.
>So many of these characters and scenes are stock >re-treads. There is little to no surprise. There is little >to no relevant or interesting dialogue. For such a high >concept script the characters never talk about the situation >they find themselves in. What is it like living in a dying >world? Then you have preposterous scenes like the >baby-delivery with no water and no medical eqpt/experience. >Terrible...
I don't agree with all your points, but I see where you are coming from. Hey, I think it's a flimsy, but tight war/action thriller script (on first viewing). As for the dialogue, I'm with you; I found it lacking.
Actually, I prefer it that they never talk about their situation; I'd much rather see them in the story world and see their behavior and emotions.
>>>Direction = lazy >The filmmaking itself is strong due to the camerawork of >Emmanuel Lubezki and the production designers.
It seems from articles that Lubezki and Cuaron are highly collaborative much like Bergman and Nykvist. Now, is Cuaron like Bertolucci in the sense of planning all the camera movements before Storaro arrived on the set, probably not. However, even if Cuaron was totally hands-off and let Lubezki totally control the mise-en-scene, blocking, and all camera setups/framing/movement, Cuaron going along with the film's style is not lazy. After all, all the cues and rehearsals for the long takes is time consuming and complicated; so the decision to okay that is not lazy.
>Story >management, directing actors and overall success of the film >fall in the director's lap.
We just disagree here. I thought he did well in all those areas.
>When you take an all-star concept >and don't deliver it to even half its potential you haven't >lived up to the idea. He went for easy jokes, pointless >action and comic book characters rather than content. To me, >that's lazy.
See, though, the potential is what you wish Cuaron did with the film. Meet the film halfway and see it for what it is - an action/war thriller with a sci-fi premise (infertility metaphor as a point of departure) - and in that context, the film is far from lazy.
Hey, I think the jokes and occasional cliches do undermine the content at times. Rather than those things resulting from laziness, I think Cuaron strove (as far as I can tell from interviews) to make a profound statement on hopelessness and the world today and I think came up short; nevertheless his treatment was riveting even if it wasn't a probing and illuminating exploration.
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