Professor of philosophy. Watcher of films.
Plenty to talk about in how this is a good movie in the expected ways, but I'm fascinated by some unexpected editing choices. There are a couple seeming sound bridges that actually make the dialogue/sound ambivalent as to which scene it's in, which highlights some interesting visual matches across those shots. I've not seen a film do that so frequently (that I can recall offhand). I'll have to watch out for Harry Yoon.
Second viewing confirms this is among the handful of films I'd consider my all-time favorites. Everything I want in a film is here. (Well, I could use a chase scene with a car explosion, I guess.)
What's the movie about? It's about an hour and forty-five minutes.
An hour and forty-five minutes of dizzying, glorious, beautiful starts and stops, ideas and emotions, reality and fiction, truth and lies, beauty and deceit. AK demands our attention, but doesn't mind if we…
Aaron Sorkin demands that at each moment you recognize exactly how intelligent he is. Every turn of phrase, overlapped sentence, and twist in the argument screams to be heard as written by Aaron Sorkin. The obvious problem with wanting people to know just how intelligent you are is that people will find out just how intelligent you are. One surmises that everything Sorkin has contemplated in relation to technology, online/offline, class, social hierarchies, elitism is right there in the script,…