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Post by Derrick on Oct 7, 2010 20:33:30 GMT -5
It's definitely far from worthy of being compared to one of the most skillfully made films of all time. Correct me if I'm wrong, but I think when Derrick first invoked a comparison between WATCHMAN and KANE he was employing that time-honored (if frequently ironically employed) devise whereby the benchmark of the earlier film is used to highlight another work's position as the apex of its given genre. For instance, if I were to describe the first BRING IT ON film as "the CITIZEN KANE of cheerleader movies" -- which it is! -- I'm not actually comparing it to KANE itself, per se, but rather to every other cheerleader movie that doesn't achieve the same level of ambition, artistry and over-all perfection Exactly what I meant. Thank you for not only reading the whole thing but understanding what I meant. Take a couple of for instances for example. I consider SMOKEY AND THE BANDIT the "Citizen Kane" of car chase movies and THE POSEIDON ADVENTURE the "Citizen Kane" of disaster movies.
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Post by Eddie Love on Oct 7, 2010 21:04:54 GMT -5
Take a couple of for instances for example. I consider SMOKEY AND THE BANDIT the "Citizen Kane" of car chase movies and THE POSEIDON ADVENTURE the "Citizen Kane" of disaster movies. ...and I consider ZODIAC the " CITIZEN KANE of serial killer movies". And INGLORIOUS BASTERDS the " CITIZEN KANE of WWII guys-on-a-mission movies" And CITIZEN KANE the " CITIZEN KANE of biographical, newspaper pictures." (Okay, maybe that last one doesn't really work...)
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Post by Derrick on Oct 7, 2010 21:25:24 GMT -5
I'd nominate either THE DIRTY DOZEN or KELLY'S HEROES as the "Citizen Kane" of WWII Guys On A Mission
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Post by Eddie Love on Oct 7, 2010 22:11:01 GMT -5
I mentioned IB just 'cause I feel it's on a wholly different artistic level than even the best of that genre, like the ones you cited -- and I'd add two more that I love -- OPERATION CROSSBOW and PLAY DIRTY. (By the way -- check out the scene in the later of the a scorpion being taunted in a ring of fire. The same image would show up the following year in THE WILD BUNCH.)
And speaking of THE DIRTY DOZEN -- that's very similar to an unusually substantially budgeted Roger Corman picture calledTHE SECRET INVASION, made a couple years prior. Not nearly as good as TDD, but interesting.
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Post by Eddie Love on Oct 8, 2010 19:27:56 GMT -5
The only problem I have with THE DARK KNIGHT is that the incredible performance of Aaron Eckhart was overlooked in the wake of Heath Ledger's untimely death. Not to take anything away from Mr. Ledger as he gave us a remarkable performance. But Aaron Eckhart's performance was equally as remarkable and as deserving of an Oscar nomination. I feel ya on this. I loved Heath Ledger from the get-go and unlike many others, I never lost faith, indeed, I saw NED KELLY, THE FOUR FEATHERS and even THE ORDER -- in the theater! So I was glad when his star rose again. I loved him in DARK KNIGHT, was fine with him getting the Oscar, but was also a little frustrated that so much of his performance seemed to be speechifying and not much inter-acting with the rest of the cast. If the always reliable Eckhart's performance seems as good and possibly a little more vital, it could be because Dent, in addition to being a relatable human character, is behaving and responding in believable human contact with others. I'm worried this disconnect with the actors might be an issue with Nolan in general. I liked INCEPTION, but what drove me crazy about it was his relentless use of close-ups in it. I felt you rarely saw the actors in the same frame acting together, and I hate that. The first scene with Leo and Michael Caine, except for an establishing wide shot, they were never in the same frame. This repeated throughout, and while that's one thing when you're dealing with a cast of commanding talent (DiCaprio) or big talent with an astonishingly beautiful face (Cotillard), this really under-served the less schooled members of the cast, namely Ellen Page, who's performance and delivery felt choppy and tinny for me throughout. But bottom-line, Aaron Eckhardt was truly and strangely underrated in TDK.
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Dino
Full Member
Tai-Pan
Posts: 166
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Post by Dino on Nov 1, 2010 5:30:39 GMT -5
I loved Watchmen. And when I saw the director's cut, I loved it even more. But as much as I do love it, I'm not so sure I'd call it the Citizen Kane of comic book flicks.
Comic book films are bringing their A-game lately with Marvel's movies, The Dark Knight and Watchmen. But for my money, the Citizen Kane of comic book films is and has been since 1994, The Crow. I can't think of any comic book film that managed to successfully transfer a story that had very narrow appeal to a mainstream audience with a lot of changes to the original story, but still managed to capture the feel and emotion of the comic. And there is not one casting decision in that entire picture that I don't see as spot-on perfect.
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