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But Balfe brought a lot of it on himself, by pissing on his own profession and peers, in that infamous interview.
Link, please.
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Posted: |
Sep 13, 2019 - 6:36 AM
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By: |
Thor
(Member)
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COMMENTS WITH NO SPOILERS BELOW! SAFE TO READ!
Just came back from this. As I said above, my colleagues, who saw it in Venice, were rather lukewarm, but I could glean from their comments that this would probably be more up my alley. I was correct in my assumption. I loved the film. It's a hodgepodge of various inspirarions -- 2001, FURY ROAD, Malick, GRAVITY, EVENT HORIZON etc., but it works to its benefit. Plus James Gray's usual fascination for APOCALYPSE NOW and Coppola, which he explored so wonderfully well in the brilliant THE LOST CITY OF Z. At one level, it's a regular space adventure -- with some hokey elements that aren't necessarily connected to the overall storyline -- but on another level, it's a beautiful, cerebral science fiction film about fundamental human issues, mainly the relationship between a father and his son. Most great sci fi films have this balance of elements.
I also love the "road movie" feel of it, with each location firmly set with its own atmosphere. In that way, it has a kind of 'vignette' feel to it; I could easily see a whole film taking place in each of these locations.
I'll save more specific comments for later.
As for the score, I really liked it. It has Richter's usual minimalist style, but with some expansive chords. There's an electronic "motif" or beat of sorts that was particularly captivating. I have no idea what Richter did and what Balfe did (perhaps Balfe's the one that did the beautiful electronic thing), but I can't wait to hear it on album. If it gets an album.
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Posted: |
Sep 13, 2019 - 6:46 AM
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By: |
keky
(Member)
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Just came back from this. As I said above, my colleagues, who saw it in Venice, were rather lukewarm, but I could glean from their comments that this would probably be more up my alley. I was correct in my assumption. I loved the film. It's a hodgepodge of various inspirarions -- 2001, FURY ROAD, Malick, GRAVITY, EVENT HORIZON etc., but it works to its benefit. Plus James Gray's usual fascination for APOCALYPSE NOW and Coppola, which he explored so wonderfully well in the brilliant THE LOST CITY OF Z. At one level, it's a regular space adventure -- with some hokey elements that aren't necessarily connected to the overall storyline -- but on another level, it's a beautiful, cerebral science fiction film about fundamental human issues, mainly the relationship between a father and his son. Most great sci fi films have this balance of elements.
I also love the "road movie" feel of it, with each location firmly set with its own atmosphere. In that way, it has a kind of 'vignette' feel to it; I could easily see a whole film taking place in each of these locations.
I'll save more specific comments for later.
As for the score, I really liked it. It has Richter's usual minimalist style, but with some expansive chords. There's an electronic "motif" or beat of sorts that was particularly captivating. I have no idea what Richter did and what Balfe did (perhaps Balfe's the one that did the beautiful electronic thing), but I can't wait to hear it on album. If it gets an album.
Thanks for your thoughts, Thor! You have really made me interested in the film, I'm very curious now. Also, about the music. I like Richter's style and pairing him with Balfe could result in an interesting score.
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By the way, how IS the soundtrack situation here? Is it forthcoming? Does anyone know? Or is it another GHOST IN THE SHELL situation?
It appears is coming by Deusteche Grammophon... but it weird, in EVERY promo i saw about the movie, the only composer accredited is Max Ricther.
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