Meaningless bureaucracy is not limited to the DGA - Terry Gilliam quit the Writers Guild after they gave Alex Cox and Todd Davies screenplay credit for Fear and Loathing. Gilliam and Grisoni tossed the original script after they were brought in, but the Writers Guild awarded Cox and Davies co-credit on the final film.
He may have joined back up, as he has a writing credit on Brothers Grimm. Of course it was not shot in America, so maybe not. They probably were offended when he burnt his membership card.
Rodriguez and Miller, not OK -- they've never teamed up before now, and Miller's never made a movie in his life.
So, how would you ever become a legitimate creative team, other than being born to the same parents? (Or married; maybe RR and Miller could get married?) If Miller gets a directing credit under his belt, would that make them eligible?
I'm really unhappy with the ending of
The Manchurian Candidate.
I was all applauding them smartening up the Janet Leigh character, but I guess that's where all the movie's smarts went. Also, the movie should have been called
Big Heads.
I really wanted to climb through time and back the focus off just a bit.
I finally saw
The Crow.
And, surprisingly enough, it's something to crow about. Softly, at least. It's much more successful than Alex Proyas' next movie,
Dark City.
Because unlike that movie, it doesn't have a lot of pretensions of being deep and meaningful. Well, besides the "Love conquers all" voiceovers, which are fairly harmless. Basically, it's a revenge pic in which the instrument of vengeance is
already dead,
so he has nothing to lose. After the first twenty minutes or so, the movie really picks up and it wasn't until the point of Oh Wait I Need a Climax that I realized what a great job Proyas had done: he had sustained almost the entire movie with no narrative tension whatsoever. Eric is invulnerable; he dispatches his foes with relative ease. Yet, it's compelling, and there are some wonderful shots, especially the slow burn of gasoline as it forms the shape of the crow.
Of course, it's not perfect. People accept that this guy's back from the dead way too easily, and all Eric's flashbacks are generic They Were So Happy Together scenes. And while it's probably best they don't try to explain the mythology, a teensy bit more might have been nice. But all in all, it's nicely done, and it annoys me that there are so many rehash "sequels," the latest one starring David Boreanaz (and for some reason, ditching the
Crow
name).
Boreanaz playing an undead avenger?
Huh.
Boreanaz playing an undead avenger?
No, actually, he plays some murderous gang leader who wants to ascend to demonhood or something.
I like the anthology potential (it's keeping in spirit with the comics), but, yeah, they've all been crap.
I like the anthology potential (it's keeping in spirit with the comics)
Do the comics just have different characters being brought back? Okay. But yeah, if they're not done as well as the first, I won't bother.
Do the comics just have different characters being brought back?
They do have multiple Crows, yeah.
I liked the first Crow. And got all caught up in the tragedy of the Lee family prophesy. Plus, Michael Wincott is creepy-fun. But the rest were, indeed, crap.
Yet another example of terrific potential squandered.
Hmph. My dog has fallen heavily asleep on my foot, which has, in turn, fallen asleep. I take this as a sign that the rest of me should follow.
::comeon Bartleby, let's go chase squirrels in our dreams...::
