Filmmaker. Cohost of Film Formally Podcast. Other things. Goes long on the musical scores.
Need to rewatch (again) in the next couple months. An overwhelming amount of stuff going on here. Mid-shot perspectival changes in the conference sequence are astonishing.
New picture restoration is tremendous; audio doesn't seem to have been touched much from the earlier Janus digital version, which is fine since it sounds good, if not quite the best it's ever sounded.
Mugen Train has a lot of the same weaknesses as the first season of Demon Slayer: hit-and-miss humour and music, a lot of wonkiness and on-the-nose writing in its flashback structures, and a lack of depth or interrelated themes in its overall narrative. It's also distinctly a middle-chapter in a larger work; that's neither a good or bad thing, but for people who are used to franchise movies being "friendly to newcomers" it's worth emphasizing that this is not a…
When a movie overwhelmingly uses shallow focus it loses opportunities for depth cues and complex geometry. When the lenses used go out of focus around the edges it loses opportunities for a focal point anywhere outside the center of the frame. When it uses a highly desaturated palette it loses opportunities for distinguishing objects via colour contrast. When it uses low contrast it loses further opportunities for distinguishing objects via luminance contrast. When it uses a lot of dynamic, semi-improvisational…
I find that when you can tell stories about the post-production phase of a movie (at least ones that aren't about resentment and recrimination), it's a good sign, because it means the film and its recorded material had vitality and potential that persisted well after the cameras were put away.
On this one I felt totally harmonious with all its collaborators, their artistic strengths, their intents, and their logistical process. I have never met or even communicated with one of…