Direkt zum Hauptbereich

Parkland (Peter Landesman, 2013)

The stories of some of the bystanders of the Kennedy assassination after the event is explored.

Watching this made me realize that many things can go wrong in a movie. Unfortunately, the whole film felt like a documentary-reenactment for TV with many of the big names just being in it to up their Imdb star-meter ranking.

Biggest problem of the film is that for some reason the makers assumed that there is a general emotional level of shock about the assassination they can build upon. I don't have that, and neither did anybody in the audience. So most people sat through it, obviously bored and desperately trying to attach themselves to at least one of the characters. But nobody stays on the screen long enough that we can really understand what problems they are developing. At one point it becomes comical, but nothing suggests that there might be irony in this film. (Trying to get the coffin into Air Force One is bizarrely funny, but it just doesn't work)

Most of the time the poor sods depicted are shown in a state of utter disbelief, aggravated shock or in tears. Side characters do the talking for them, stating the obvious, mostly. The over-sentimental music does its best to exaggerate these scenes. Oh, those poor poor righteous citizens - at one point I was wondering if the producers were trying to stir anti-American sentiments by releasing this film. Yes, it was that annoying. People left the cinema swearing and head-shaking. Somebody called it the 'most expensive masturbation' on the big screen they had ever witnessed, and, 'a Republican wet dream' (?). Too bad, Gore Vidal isn't alive anymore. He would have had a field day on reviewing this one.

For me, the worst was that the script misses a fantastic opportunity: The complicated situation that Lee Harvey Oswald's brother is faced with and how he tries to deal with his dysfunctional family, while at the same time his brother is possibly the most hated person in the world. As we learn at the end of the film, he never changed his name. But I've really would have liked to know, what he and his wife and kids had to endure in the years to follow. The actor James Badge Dale (who was really good in the little room they gave him here) could have had his big chance with this character. Now, that would have been a great movie. 

Kommentare

Beliebte Posts aus diesem Blog

Time of the Gypsies / Dom Za Vesanje (Emir Kusturica, 1988)

A supernaturally gifted boy from a Gypsy community is forced to survive in the world of crime. The intriguing qualities of Kusturica's films I've seen is his relentless depiction of basically crazy communities. Not just agreeably potty, they're usually outright interstellar-nuts. Here, he follows the fate of the rather harmless boy Perhan, that leaves for Italy in hope of a better future for him and his loved ones. There are some enormously interesting images in the film that kept ringing long after. The ritual in the river and the last scene in the church ruin (with a horse standing somewhere far back in the image...). After sketchily mapping out the scenes it is surprising how rigorously three-acty the screenplay is constructed. The first act seems quite long in terms of time and number of scenes, but there is also a lot of imagery spent on depicting life in this crazy universe, which makes the second part in Italy much more believable. And there is a certa

Prisoners (Villeneuve, 2013)

I haven't seen many of Villeneuve's movies, but I really like everything so far. When thinking about Prisoners after a few days, there was a particular scene that somehow kept returning to my memory: When Gyllenhal's character is introduced, sitting alone in Chinese restaurant, not-flirting with the waitress. For some reason this scene struck me as "different". That gave me the idea to examine all the first appearances of the characters in the movie. ( SPOILERS )   KELLER DOVER (Hugh Jackman) - we don't actually see him, we start with a very static shot into the forest. The man is looking into the forest, it is his POV (which we find out quickly). But we can hear him praying, while a deer walks into the frame. When the camera pulls back, a rifle points at the animal. And just after "Amen", a shot is fired. Now, here's a little surprise: Keller, who was doing the praying has his son RALPH (Dylan Minette) shooting the rifle. It's a fat

007 Thunderball (Terence Young, 1965)

Bad guy steals atom bombs and hides them close to a seaside resort. James Bond saves the day and every woman from virginity. This shot was used a couple of times. After not having watched this in a long time I was amazed at how strange the 60's Bond comes across. For my taste, the Bonnery character is just a bit too plump verbally in his predatory attacks on just any woman he encounters. Many of the quips that must have been hilarious during the day come across as quite dumb now - even when looking at it as a period piece.... but who knows what the socially accepted standards were 1965 for the mating dance in England? Still it is an enjoyable movie - the villain is straightforward evil, the girls are beautiful, smart and opportunistic and the men are sex- and power-hungry (and quite stupid). The world of James Bond. The final battle scene under-water is still jaw-dropping to watch. Just to set up the scene the director had to solve a load of problems: Orientation and light