An object example in a film adaptation that is both remarkably faithful to the source text and in every regard an improvement. One can measure this in every category of the film. The characters – which are typically more defined in literature than cinema – are in Crichton’s version bland, even interchangeable. Ellie Sattler exists for her possession of legs. Lex is born to whine; Tim is there so we remember boys are cool. Alan Grant loves kids; Ian Malcolm…
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Distant Voices, Still Lives 1988
Photos permeate through much of Davies cinema. The photo-pose-shot is a given. A classic. This is Davies’ photographic film. So many shots are arranged in the way of a still photograph; so frequently are families lined up in that particular, abstract sense of a portrait. The father, so omnipresent in this film’s first half, is himself transformed into a photograph. His only appearance in the second half is as a photograph hanging on the wall; photographs within photographs. Davies hits…
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They Shall Not Grow Old 2018
Among the unruly film conservationist community – an elusive and underloved subsection of society at the best of times – there is much discontent afoot. Peter Jackson’s latest project, a commission from the Imperial War Museum to mark the centenary of the First World War’s conclusion, has been considered by some in said community to be an act of barbarity, an unjustifiable marring of historical record for the sake of empty titillation. This project, entitled They Shall Not Grow Old,…
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Music 2023
This film is composed of 160 shots. The mean average is forty seconds per shot. The total number of shots is about equal to the number of walkouts. The description provided to the Berlinale is amusingly distinct from the experience of the film. It speaks of a retelling of Oedipus; I defy anyone who has not read this description ahead of time to identify this film as a retelling of Oedipus; only the scars on little Ion’s feet give the…