The cinematography on this is fucking tits. I think someone compared it to Terrence Malick. It’s about as close as one can get. Morten Søborg is officially on my radar. Can’t wait for Refn’s Drive.
I finally finished this the other day. It took awhile because I just couldn’t get interested at the jump off. As it went on and things were made a bit clearer (well, at least as clear as they can be in a movie such as this) I was able to enjoy it much more.
The concepts and adventure this went on were very much appreciated, but the effects left much to be desired. Also, the inclusion of Farrell, Depp, & Law may have been a bit distracting. Like when you get an album after hearing the catchy single for a few weeks prior. You kind of push through the other songs until you get to the single. The entire film I was waiting to see when they came in and how they would fit.
As far as characters went, Garfield was solid and Cole was oddly attractive. I was kind of surprised by Troyer, as he made a few moments, that I felt was out of his talent range, seem genuine. Plummer did exactly what was expected of him (not a bad thing). Oh, and Tom Waits as the Devil? So necessary.
Finally, we have Ledger. Conveniently I discuss this on the 3rd anniversary of his death (has it been that long?). I believe Dark Knight was the best work he’d done in his career, with Brokeback Mountain a close second. As far as final films come, he could have done a lot worse (see Chris Farley’s Almost Heroes) and he could’ve done better (see TDK). Still, it seems almost fitting for him to go out on a highly imaginative note that bore no familiarness to any of his other works. Which I suppose is one of the sadder parts of his passing, the trajectory of the choices he was making in his career.
Rest in Peace Heath
I saw this over a week ago, and not a day has gone by where I haven’t thought about it. “Haunting” may be the perfect word to describe it’s effect on me. In a good way though.