- Registrado
- 4 de Sep, 2023
It's a pity the discourse about this movie will be drowned by the culture war kerfuffle for a long time, because everything in this movie is wrong. It will be delightful when the dust settles and people who care can freely talk about it in four or five years. I understand why people are so focused on the woke elements since Nolan has gone beyond drinking the Kool-Aid: he has gobbled the pitcher, eaten the plastic ice cubes, and snorted the fruity powder. He has already cast the Kool-Aid Man as Benjamin Franklin for his next movie as reparations for any damage his mansion's walls could have caused when he fierily but mostly peacefully burst through them. But even ignoring all that, there's so much to talk about here. If I didn't know better, I'd say that this is a social experiment to see how much peer pressure affects today's cultural landscape. I believe the movie ends with a rap song in the credits (sadly absent from the camrip, so I can't confirm it), but I wouldn't be very shocked if it ended with a loud, gangsta-infused version of Springtime for Hitler.
It's already been discussed to death, but nothing works here; I firmly believe this is Nolan at his worst, and that's saying something. The casting, even being as race- and gender-agnostic as one could reasonably afford to be, is just plain wrong, with a lethargic Matt Damon channeling the enthusiasm and energy of Cameron Mitchell in his last years and Tom Holland acting as a child lost in a mall who desperately needs to use the bathroom but is too self-conscious to ask where it is. There are great actors there, and some of them even try, but most, if not all, are square pegs in round holes.
I don't think I need to talk about the action scenes or the editing because the videos posted here speak for themselves. When I finished watching it, I felt like I had been subjected to a 2.5-hour session of TikTok doomscrolling against my will. I won't comment on audio and music because the camrip's quality was atrocious, but I have a nagging feeling that the real deal is almost as bad. The fact that a Hollywood blockbuster about an 8-year journey has the same number of sets as an average Friends episode is eyebrow-raising, to put it politely.
But what drove me nuts was the writing. It's no secret that Nolan can't write to save his life, but I don't understand what the fuck he was thinking when he penned this. There are hundreds of little changes that serve no purpose and make the story worse, and the big changes are even more confusing to me. Yes, yes, I know, subversion, white man bad, women good, yadda yadda, but again, ignoring that, I don't see what his goal was. It feels like Nolan is behaving as a rabid chihuahua, pointlessly snapping at random targets just as they appear in his field of vision, and forgetting about them the moment they vanish from his sight. What's the point of taking such a nihilistic approach to a tale which already is so fatalistic? Why apply an almost fedora-atheism approach to the Hellenistic gods and mythology, and then replace it with modern therapy mumbo jumbo? Why everything? I could go on for hours.
The thing I have always hated the most about Nolan's work (and something I suspect is part of the reason for his undeserved success and also the reason his more grounded movies are less controversial) is his ability to suck the magic and wonder out of any setting or genre and replace it with the most mundane but completely preposterous logic. A twisted and inverted version of magic realism: banal absurdism, and this movie is his best example of it.
It's already been discussed to death, but nothing works here; I firmly believe this is Nolan at his worst, and that's saying something. The casting, even being as race- and gender-agnostic as one could reasonably afford to be, is just plain wrong, with a lethargic Matt Damon channeling the enthusiasm and energy of Cameron Mitchell in his last years and Tom Holland acting as a child lost in a mall who desperately needs to use the bathroom but is too self-conscious to ask where it is. There are great actors there, and some of them even try, but most, if not all, are square pegs in round holes.
I don't think I need to talk about the action scenes or the editing because the videos posted here speak for themselves. When I finished watching it, I felt like I had been subjected to a 2.5-hour session of TikTok doomscrolling against my will. I won't comment on audio and music because the camrip's quality was atrocious, but I have a nagging feeling that the real deal is almost as bad. The fact that a Hollywood blockbuster about an 8-year journey has the same number of sets as an average Friends episode is eyebrow-raising, to put it politely.
But what drove me nuts was the writing. It's no secret that Nolan can't write to save his life, but I don't understand what the fuck he was thinking when he penned this. There are hundreds of little changes that serve no purpose and make the story worse, and the big changes are even more confusing to me. Yes, yes, I know, subversion, white man bad, women good, yadda yadda, but again, ignoring that, I don't see what his goal was. It feels like Nolan is behaving as a rabid chihuahua, pointlessly snapping at random targets just as they appear in his field of vision, and forgetting about them the moment they vanish from his sight. What's the point of taking such a nihilistic approach to a tale which already is so fatalistic? Why apply an almost fedora-atheism approach to the Hellenistic gods and mythology, and then replace it with modern therapy mumbo jumbo? Why everything? I could go on for hours.
The thing I have always hated the most about Nolan's work (and something I suspect is part of the reason for his undeserved success and also the reason his more grounded movies are less controversial) is his ability to suck the magic and wonder out of any setting or genre and replace it with the most mundane but completely preposterous logic. A twisted and inverted version of magic realism: banal absurdism, and this movie is his best example of it.
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