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May 25, 2012, 08:52:AM
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WearetheMovies Forum :: Dubai's Finest Film Discussion Community  |  Movies  |  Sunset Boulevard  |  Hugo (Scorcese, 2011)
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Author Topic: Hugo (Scorcese, 2011)  (Read 656 times)
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« Reply #30 on: January 08, 2012, 12:35:PM »

Staying on the performances for a bit...was I the only one that felt *both* the actors who played the kid and his girlfriend were way too old for their roles? Of course, from a practical point-of-view for a director, it's much easier to instruct older actors...and let's face it: Scorcese hasn't exactly made a lot of movies with kids in them. He probably felt more comfortable casting older and making 'em younger.

On the same topic, the actor playing the kid was annoying whenever he tried to look grim and serious on account of his daddy's death from CGI fire!

(For those reading this commentary, out of context, know that I rate the film "Good" and stand by my first assessment. These are additional clarifications, meant to, well, clarify.)
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« Reply #31 on: January 08, 2012, 01:13:PM »

(For those reading this commentary, out of context, know that I rate the film "Good" and stand by my first assessment. These are additional clarifications, meant to, well, clarify.)

This applies to me too - although I have only discussed the negative points of the movie, I liked and enjoyed the film (as I initially stated), but just don't consider it a masterpiece.
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« Reply #32 on: January 08, 2012, 01:21:PM »

After all the glowing reviews I'm not getting psyched to watch this film on the big screen after those horrible trailers.
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« Reply #33 on: February 29, 2012, 12:54:PM »

Finally got myself to watch this last night and what a horrendous acting performance by almost everyone in the film including Ben Kingsley. The kid was so freaking annoying that I felt like slapping him every time he came on screen. He could not emote any emotion be it crying, smiling or being just plain sad. Hit Girl was a bit better but still nothing compared to her previous work. Though I have not read the book I assume reading the book would be a much better experience than watching this crappy adventure. The CGI was really mediocre and the only reason it won the Oscar over the Apes film is because of Scorcese.

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« Reply #34 on: February 29, 2012, 01:06:PM »

No no, it sets a new precedent! It takes cinema to new heights with its masterful use of Oscar-winning cinematography and 3D!!

Not.
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« Reply #35 on: February 29, 2012, 01:12:PM »

Oh great KT and Shariq blended and became one giant snub, yeppie!!!
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« Reply #36 on: February 29, 2012, 01:57:PM »

Oh great KT and Shariq blended and became one giant snub, yeppie!!!

Watch the movie, then choose your side.
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« Reply #37 on: February 29, 2012, 06:02:PM »

[...]its masterful use of Oscar-winning cinematography and 3D!!

One of the greatest (some say *the* greatest) cinematographers ever, Gordon Willis was never even nominated for a Oscar even though the masterful films he authored visually -- such as GODFATHER, MANHATTAN, ANNIE HALL, et al -- continued to receive dozens of nominations. They ultimately gave him a mediocre Governor's Award in 2009 for his lifetime achievement after nominating him for films such as ZELIG and GODFATHER III (works created after his glory day period). Willis had always been cynical about Hollywood and it was no secret that this may have had something to do with his snubs. Also: it's called...being ahead of your time.

In the case of TREE OF LIFE, Lubezki is, in my opinion, not as radical as Willis and although a phenomenal cinematographer, his work was *obvious* in its beauty and won every after major cinematography award (incl. the crucial ASC award). The Oscar snub goes to show it's voting members are old farts with no clue about what cinematography should/can be. Bob Richardson, a terrific cinematographer in his own right, got together with Scorcese and created something that was sentimental and that is why it won.

I would say; who cares.
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WearetheMovies Forum :: Dubai's Finest Film Discussion Community  |  Movies  |  Sunset Boulevard  |  Hugo (Scorcese, 2011)
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