There were a few scenes that tried to be funny, and they fell flat on me, but that’s not the point of the movie so I let that slide. What excels here is the emotional connection to the characters, and everything plays a role in that; the beautifully animated expressions, the adequate vocal intonations, the masterful use of fitting music, and the believable and dramatic script. I can say with certainty that this movie would have been significantly worse if not for its ability to use all the tools and its disposal to instill emotion. If we could work out a few kinks in the pacing, I would give this category an A, but as it stands now, we’ll go with
If you want a happy end, you should see a Hollywood movie. As pointed Peter J. Bailey, in “If You Want a Hollywood Ending”, the complete irreconcilability of the endings of Hollywood movies and real life” suggests that real life is “dominated by action over reflection” and there is a “great disparity between human projections of universal values and reality”. According to Bailey, “the film’s two unambiguously prevailing figures embody a wealth, successfulness, and savage realism as radically at odds with Levy’s optimistic existentialism – or Cliff’s ineffectual moralism (p.139).” Thus, if there is a distance between Hollywood movies and reality, it is concluded that art does not teach anything or cannot provide answers – just the opposite of Cliff’s teachings to his
Scenes That Only Quentin Tarantino Could Have Gotten Away With Most filmmakers love to push the boundaries and take us places we never thought we would go. They do this not only with twists and special effects but also introducing surprising content, dialogue, and characters. Sometimes these controversial pictures just flop and other times the thrills and shocks elevate them to cult status with runaway success. And when it comes to the shocking, the thrilling, and the controversial there’s one name that will always outshine all the rest and that’s Quentin Tarantino. He’s known for his trademark nonlinear storylines, superb casting, satirical subject matter, unique soundtracks, incredible dialogue and quirky pop culture references.
Even though as mentioned above, the movie is visually stunning however it is not for everyone to watch. The play itself even by Shakespeare lover’s is sometimes not believed that is written by Shakespeare. And Julie didn’t take out much from the original play. The movie is as gruesome as the play itself and for some it is considered a tasteless display of violence. However it can also be seen as a thought provoking movie, bluntly displaying the horrors of nonsense revenge and how far we can go to accomplish
Its battles are more on the smaller side but are equally climatic on its own but when coupled with the emotional tension in Rebels it might be even more powerful than Clone Wars. All the episodes follow one another and the arc of the characters are extremely complex and satisfying to the end. The biggest plus for the Rebels is its tie ins with Rogue One (A recent Star Wars movie) and New Hope (The original Star Wars Movie). These tie ins give Rebels a new depth and purpose other than the shows’ immediate goal. Rebels’ flaw comes in its PG rated battles.
That love will conquer all?. We have this flair and and unmistakable love for melodrama. Just try to think of one movie that doesn 't employ the formulaic ingredients of Bollywood such as star-crossed lovers and angry parents, love triangles, family ties, sacrifice, corrupt politicians, kidnappers, heroes who are able to fight off villains all by themselves, conniving villains, courtesans with hearts of gold, long-lost relatives and siblings separated by
‘Positive characters … usually prove miserably ineffectual when contending with ruthless overwhelming powers’ claims Amin Malak, noting on such protagonists as Winston Smith and Offred in George Orwell’s Nineteen Eighty-Four and Margaret Atwood’s The Handmaid’s Tale, and, when looking at the dystopian genre as a whole, he certainly seems to be correct. Dystopian fiction does seem to portray the worse side of human nature than the better, leaving the positive traits to the struggling protagonists. While utopian writers seemed to think that the essence of human nature was to do good, dystopian writers seem to think very differently and it is from this notion that these novels seem to be written. Nineteen Eighty-Four certainly seems to do this, with almost every member of the society representing one or more negative aspects of humanity. Throughout the novel, Winston constantly references the fact that ‘Today there were fear, hatred and pain’ and that in this society of Ingsoc ‘No emotion was pure, because everything was mixed up with fear and hatred’ and this is displayed in many, various ways.
Man Kei Chin directs a film that is more a non-stop succession of sex, violent action, preposterous humor, and special effects, since it lacks of any kind of coherence or logic. The sole advantage of his work lies with the atmosphere, which, particularly in the Hong Kong scenes, is quite eerie. With scenes like the one where Kong's head transforms into a huge penis, and the plethora of sex scenes occurring in the air, this film is trash cinema at its
For the majority, they mean “Bollywood” (a conflation of Bombay, the old name for Mumbai, and Hollywood), and for others,they mean exquisite art movies as exemplified by the work of Satyajit Ray. The films of Bollywood tended to be rigidly formulaic Hindi-language musicals, comedies, or melodramas. In the 1990s, Bollywood musicals, the staple of the Indian film industry, became more and more popular among non-Indians