you give me something.
just got back from watching the day after tomorrow with kid sister. we clung to each other for the entire duration of the film, and my thought capacity was narrowed down to, essentially: "holy motherfucking SHIT"; my family; gazillion multifandom PLOT BUNNIES OMFG; "gosh, doesn't living in south america sound pretty fucking nice now, huh?"; and "holy motherfucking SHIT". not necessarily in that order. furthermore, randomly:
- yo, japanese HOTASS in the beginning. i'm sorry about the GIANT FREAKING BLOCK OF ICE DROPPED WITH HUNDREDS OF KILOMETERS PER HOUR on your cute little head. but, dude, like, when you wake up, call me.
- "i'm afraid that time has come and gone, my friend." oh, bilbo ian holm. the power dying was just so eerie and sad.
- i think the human side of the story was executed in a very interesting way. there are a lot of characters, but with a few of them you get little bits and pieces as the story goes, especially with jack and sam, both as individuals and as father-and-son. (with love, actually, for instance; you also had this huge selection of characters, but almost no depth nor insight into who they were individually, just their relationships with other characters.) the sections with the beggar were very interesting too, in the "seething-omfg-HOW-CAN-YOU-SHUN-HIM-DURING-THIS" way. in short: mostly one-dimensional characterizations but with the occasional moments of shine.
the shot with several groups of survivors on the tops of the new york buildings moved me a lot, too.
- that said about the human side, i think the political aspects were all fucked up. i am very far from having a deep understanding of the intricacies of political life, but dude, come on. the "forgiveness of mexico's external debt"? i can understand the possible logic of such a decision, what with all the OH-GOD-THE-APOCALYPSE-WHAT-WILL-WE-DO desperation, but still. world politics are far, far too deep and dense and complicated to be skimmed past in such a fashion. if you're going to get into it, man, you get into it, or you don't go there at all. i don't know. i can understand why it was done that way. it still felt a bit too vaguely addressed.
i'm not even going to get into the "invasion" of mexico. that is just all sorts of fucked up.
y'know, i'm getting too worked up over this. suffice it to say, "WOO NO PLOT!" and get on with life. :p
- the jack/lucy thread was left HANGING WIDE OPEN AND FLAILING. closure? wot?
- THE WOLVES WERE SO PREDICTABLE. (omg so funny watching sam slam into walls in his panic.)
- there were moments of the soundtrack that reminded me strongly of the ROTK score. it would be laughable to compare the two, but still. vaguely familiar chords during familiar times of desperate struggling for hope.
- so much panic and despair. there were moments you could feel the audience thrumming with tension and expectation. fucking unbelievable cinematography.
- there should have been more silences. particularly during the scenes were the disastrous news were delivered (jack telling bilbo terry about the new ice age) and during the shots of frozen vastness. the impact could have been much more stronger, the tension and despair multiplied. there is nothing like the empty, desolate silence, where there is absolutely nothing else to say.
- SAM!
um. yeah. whatever.
then we got out and humped the harry potter posters. and the eternal sunshine of the spotless mind poster. there were some ridiculous teeny fangirls squealing over elijah. i pointed and laughed and loudly insulted them, then went over to squeal over elijah. am so the twelvest wtflol.
grievances considered, grate flick all in all. wild adrenaline rush. GAZILLION MULTIFANDOM PLOT BUNNIES. the sheer number of possibilities is mind-boggingly thought-provoking.
- yo, japanese HOTASS in the beginning. i'm sorry about the GIANT FREAKING BLOCK OF ICE DROPPED WITH HUNDREDS OF KILOMETERS PER HOUR on your cute little head. but, dude, like, when you wake up, call me.
- "i'm afraid that time has come and gone, my friend." oh, bilbo ian holm. the power dying was just so eerie and sad.
- i think the human side of the story was executed in a very interesting way. there are a lot of characters, but with a few of them you get little bits and pieces as the story goes, especially with jack and sam, both as individuals and as father-and-son. (with love, actually, for instance; you also had this huge selection of characters, but almost no depth nor insight into who they were individually, just their relationships with other characters.) the sections with the beggar were very interesting too, in the "seething-omfg-HOW-CAN-YOU-SHUN-HIM-DURING-THIS" way. in short: mostly one-dimensional characterizations but with the occasional moments of shine.
the shot with several groups of survivors on the tops of the new york buildings moved me a lot, too.
- that said about the human side, i think the political aspects were all fucked up. i am very far from having a deep understanding of the intricacies of political life, but dude, come on. the "forgiveness of mexico's external debt"? i can understand the possible logic of such a decision, what with all the OH-GOD-THE-APOCALYPSE-WHAT-WILL-WE-DO desperation, but still. world politics are far, far too deep and dense and complicated to be skimmed past in such a fashion. if you're going to get into it, man, you get into it, or you don't go there at all. i don't know. i can understand why it was done that way. it still felt a bit too vaguely addressed.
i'm not even going to get into the "invasion" of mexico. that is just all sorts of fucked up.
y'know, i'm getting too worked up over this. suffice it to say, "WOO NO PLOT!" and get on with life. :p
- the jack/lucy thread was left HANGING WIDE OPEN AND FLAILING. closure? wot?
- THE WOLVES WERE SO PREDICTABLE. (omg so funny watching sam slam into walls in his panic.)
- there were moments of the soundtrack that reminded me strongly of the ROTK score. it would be laughable to compare the two, but still. vaguely familiar chords during familiar times of desperate struggling for hope.
- so much panic and despair. there were moments you could feel the audience thrumming with tension and expectation. fucking unbelievable cinematography.
- there should have been more silences. particularly during the scenes were the disastrous news were delivered (jack telling bilbo terry about the new ice age) and during the shots of frozen vastness. the impact could have been much more stronger, the tension and despair multiplied. there is nothing like the empty, desolate silence, where there is absolutely nothing else to say.
- SAM!
um. yeah. whatever.
then we got out and humped the harry potter posters. and the eternal sunshine of the spotless mind poster. there were some ridiculous teeny fangirls squealing over elijah. i pointed and laughed and loudly insulted them, then went over to squeal over elijah. am so the twelvest wtflol.
grievances considered, grate flick all in all. wild adrenaline rush. GAZILLION MULTIFANDOM PLOT BUNNIES. the sheer number of possibilities is mind-boggingly thought-provoking.