Real animals in this one, and oh that cyclops design, that makes up for a lot. And there’s a lot to make up for: three hours of battle scenes and whinging about the downfall of respectful society. Bunch of excellent actors and the Nolan bombast and the seat-rattling IMAX beat us into submission. MVPs: Cyclops, Travis Scott, the murderous giants, Elliot Page, Leguizamo, Pattinson, Agamemnon’s armor, Samantha Morton, the raven.
Tag: Samantha Morton
Morvern Callar (2002, Lynne Ramsay)
A description of the opening scenes would sound like a scare headline about the callous drug-afflicted youth: Morvern’s boyfriend is dead in a doorway, she grabs cash from his pocket and goes out to meet a friend Lanna for a bar date. Morvern books a resort trip to Spain with the funeral money her man left on a bank card, puts her own name on the man’s finished novel and gets a publishing deal, ditches Lanna who admits having an affair with the man. Good character and movie, full of unexpected developments and images.
Samantha Morton is my age – I’ve seen her in Synecdoche and Cosmopolis, Mister Lonely and Minority Report, and it’s been a long while since Sweet and Lowdown and Jesus’ Son. So all of Ramsay’s movies are about death trauma? I first heard of her when Criterion released Ratcatcher twenty years ago, deciding I must watch it, but now I’ve seen all of her features except Ratcatcher – typical of my roundabout way of doing things.
Minority Report (2002, Steven Spielberg)
So, in the straightforward ending, pre-crime dept. head Max Von Sydow murdered precog Samantha Morton’s inconvenient mother and good cop Colin Farrell, while Cruise’s ex-wife springs him from The Attic to bring justice and a happy ending. But an article Katy found says the ending is too idyllic and perhaps Cruise never awoke from The Attic, but actually dreams the last half hour Brazil-style. I love that the movie works either way.
Highlights: creepy doctor Peter Stormare and the following scene with retina-scanning spiders invading his apartment complex, Cruise escaping via auto assembly line, Morton’s freaked-out performance, the still-exciting technology and how most of it is becoming real. Katy is hung up on the mismatched architecture/design styles of all the interiors.