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Grosse Pointe Blank
ashamel
We saw Neil Marshall's Doomsday last night, which is more or less completely mad. With barely a whiff of credibility it throws a cyberpunk heroine into battles against apocalyptic road gangs and medieval knights, with a bit of Aliens and Twenty Eight Days Later thrown in for kicks. And it works, though it takes a while for the build-up of absurdity to reach critical mass (the precise moment is marked with the song Good Thing, for those taking notes).

I'm not sure it works really well, given the flatness of some of the dialogue and plotting in general, but it rides it through on audacity and good production values.

Speaking of which, I also saw Sucker Punch recently, which actually has very similar goals (cyberchicks vs knights, in broad terms); even more audacious, even less sane, somewhat more tedious. I wouldn't call it good, but it had enough in common with, say, Terry Gilliam to be interesting.
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