ajejebrazorf

Even though I really like Malick, I wasn't crazy about The Thin Red Line (but maybe I should really rewatch it before giving a definitive judgment). I acknowledge that it's a beautiful film, but among war movies, I prefer some other titles, and among these, Kubrick's three (definitely not Saving Private Ryan). Ah, I can't remember which review had a nice discussion about the ability to depict war in films without rhetoric; I would love to reread it. Does anyone remember what review it was?

You surprise me, you're much more linear than usual! I liked the film, beautiful images, total absence of rhetoric (and dialogue). Of course, it’s also quite demanding; it’s not a popcorn movie. It’s hard for me to give it a rating right off the bat. I’ve heard that House might be even better than this one, have you seen it? This question is obviously directed at Kosmo as well.

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Beautiful review and great discussion. However, Cptgaio, I'm surprised that you say it's the best in terms of design; on the contrary, it seems to me one of the poorest, relatively speaking to Miyazaki, of course. Not that the drawing is bad (I'm referring to the detail and care for backgrounds and characters), but in subsequent works it seems that the level has continuously risen over the years (and I imagine with the increase in budget), especially in Spirited Away and Howl's Moving Castle. And perhaps even more so in some works by other authors: if I recall correctly, the best things I've seen, only considering the drawing, are Tokyo Godfathers by Satoshi Kon and the latest works of Otomo, particularly Steamboy (though I found it quite disappointing aside from the drawing). And I'd also give a nod to Makoto Shinkai, who all on his own (without the tens of millions of dollars and the team of collaborators that Otomo has), has managed to create backgrounds that take your breath away.

Remember, you must be an incorrigible optimist, right?

"The real challenge is to stop being pseudo-alternative"...no, the real challenge, assuming there is any challenge, is to try to keep your ears open and remove any kind of blinders, not to think in terms of genres and supposed 'seeds of series'.

Oh my God, primiballi, forgive me but your comment is a horrifying concentration of banality.

I haven't heard much, but I know I need to get it on the fly.

wonderful, my favorite of Welles. Does anyone know how to identify the version without the horrible opening credits in the initial sequence?

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