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Pan's Labyrinth (2006) by Guillermo Del Toro
Pan's Labyrinth" is easily considered as one of the very best films of its respective decade, as well as the best entry from director Guillermo Del Toro. Even though both statements aren't applicable to me, I can still understand the hype, since the movie is undoubtedly great that's for sure. The ultimate smoothness of the camera work, is what entertained me the most throughout my experience. The way the camera skated through every thread of the story with absolute finesse, was simply mesmerising. On the other hand, I didn't feel any of the spark or magic everyone seems to be raving about. I was never hooked, or exceptionally connected, not to the story nor its characters. There's nothing wrong with either of them, but there's nothing special about them too, at least not special enough.
I respect Guillermo's vision and style, and how he went about twisting the fairy tales clichés, but I also can't help but compare this tale to "The Shape of Water", and think of how much the latter was totally what I expected from the former. Nonetheless, the film was entertaining and interesting enough that one wouldn't feel a second of the runtime, and of course, it goes without saying, that the practical effects and make-up are outstanding, as they prove that they are the way to go when in need, instead of anything computer generated.
I respect Guillermo's vision and style, and how he went about twisting the fairy tales clichés, but I also can't help but compare this tale to "The Shape of Water", and think of how much the latter was totally what I expected from the former. Nonetheless, the film was entertaining and interesting enough that one wouldn't feel a second of the runtime, and of course, it goes without saying, that the practical effects and make-up are outstanding, as they prove that they are the way to go when in need, instead of anything computer generated.
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"A film has to be a dialogue, not a monologue — a dialogue to provoke in the viewer his own thoughts, his own feelings. And if a film is a dialogue, then it’s a good film; if it’s not a dialogue, it’s a bad film."
"A film has to be a dialogue, not a monologue — a dialogue to provoke in the viewer his own thoughts, his own feelings. And if a film is a dialogue, then it’s a good film; if it’s not a dialogue, it’s a bad film."
- Michael "Gloomy Old Fart" Haneke
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Coincidentally, I just finished rewatching Pan's Labyrinth. I don't feel like writing anything tonight, but I'll get something up tomorrow.
It was a very long week at work, and instead of relaxing when I got home today, I had to deal with a bit of a family crisis. I'm really looking forward to going to sleep...definitely sometime within the next hour haha.
It was a very long week at work, and instead of relaxing when I got home today, I had to deal with a bit of a family crisis. I'm really looking forward to going to sleep...definitely sometime within the next hour haha.
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Pan's Labyrinth / El Laberinto del Fauno (2006)
Directed by: Guillermo del Toro
Starring: Ivana Baquero, Sergi López, Maribel Verdú
Pan's Labyrinth has some amazing set design, particularly for the “unreal” segments of the plot. This fantasy world is beautiful in a haunting, almost sinister way, contrasting the lack of vibrance of the mill house without feeling at odds with the tone of the real world. The camera angles, colour palette, and lightning techniques generate remarkable atmosphere that gives the entire film a dream-like quality, even during the more realistic sequences. Despite not caring much for the film as a whole when I saw it a few years ago, I was looking forward to watching it again purely for the cinematography.
Since the CG in other parts of the film really stands out in an unflattering way, I'm glad animatronics were used in the Faun's head, as I thought it added an uncanny element to the character. There's something eerie yet strangely endearing about the way Doug Jones moves as the Faun, and the actor dubbing over his lines did a great job matching Jones' vocal mannerisms and lip movements to create an incredibly cohesive performance split between two actors. Despite having no dialogue, the Pale Man is a very memorable part of the film as well, again thanks to Jones' ability to bring characters to life through movement and gestures alone.
When I first saw Pan's Labyrinth, I was disappointed that the fantastic elements of the film seemingly only existed in Ofelia's imagination, as a mechanism for coping with the brutal world around her. However upon further reflection, I actually prefer that interpretation of the story, since it adds more weight to the final scene, and ends the film on a darker note than if what Ofelia had experienced was actually real. Guillermo del Toro has stated that we're free to believe whichever version speaks to us, but if I thought the fantasy world wasn't purely figurative, Ofelia's final dream of reaching the underworld would actually ruin the tone of the ending for me. It does support the fairy tale's moral message about the dangers of blind obedience, but I think the themes are obvious enough on their own without needing that extra push and a reward at the end.
Since the CG in other parts of the film really stands out in an unflattering way, I'm glad animatronics were used in the Faun's head, as I thought it added an uncanny element to the character. There's something eerie yet strangely endearing about the way Doug Jones moves as the Faun, and the actor dubbing over his lines did a great job matching Jones' vocal mannerisms and lip movements to create an incredibly cohesive performance split between two actors. Despite having no dialogue, the Pale Man is a very memorable part of the film as well, again thanks to Jones' ability to bring characters to life through movement and gestures alone.
When I first saw Pan's Labyrinth, I was disappointed that the fantastic elements of the film seemingly only existed in Ofelia's imagination, as a mechanism for coping with the brutal world around her. However upon further reflection, I actually prefer that interpretation of the story, since it adds more weight to the final scene, and ends the film on a darker note than if what Ofelia had experienced was actually real. Guillermo del Toro has stated that we're free to believe whichever version speaks to us, but if I thought the fantasy world wasn't purely figurative, Ofelia's final dream of reaching the underworld would actually ruin the tone of the ending for me. It does support the fairy tale's moral message about the dangers of blind obedience, but I think the themes are obvious enough on their own without needing that extra push and a reward at the end.
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Netflix DVD has The Leopard in English or Italian version. Would it be right to assume the English is dubbed and the Italian has English subtitles?
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Yes, but they're both dubbed.
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Yes, but they're both dubbed.
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Only so many of the actors could speak Italian or English. Besides, Italian movies were always dubbed up until after that movie since they didn't record the sound live. The Italian version has more footage (25 min) but it's a pain to see Lancaster with somebody else's Italian voice although he was dubbed other times.
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Which one should I watch then?
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The Italian version is the one that was nominated.
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[center]
Pan's Labyrinth / El Laberinto del Fauno (2006)
Directed by: Guillermo del Toro
Starring: Ivana Baquero, Sergi López, Maribel Verdú
When I first saw Pan's Labyrinth, I was disappointed that the fantastic elements of the film seemingly only existed in Ofelia's imagination, as a mechanism for coping with the brutal world around her. However upon further reflection, I actually prefer that interpretation of the story, since it adds more weight to the final scene, and ends the film on a darker note than if what Ofelia had experienced was actually real.
Pan's Labyrinth / El Laberinto del Fauno (2006)
Directed by: Guillermo del Toro
Starring: Ivana Baquero, Sergi López, Maribel Verdú
When I first saw Pan's Labyrinth, I was disappointed that the fantastic elements of the film seemingly only existed in Ofelia's imagination, as a mechanism for coping with the brutal world around her. However upon further reflection, I actually prefer that interpretation of the story, since it adds more weight to the final scene, and ends the film on a darker note than if what Ofelia had experienced was actually real.
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Thelma
I looked this up before but passed because I'm not a big fan of supernatural or possession type of horror. It always seems like those types of movies copy the greats like Carrie, The Exorcist, and The Omen, but can never come close to touching them. That's why I now prefer the more shocking and violent type of horror. This movie reminded me of those classics a little bit, but I thought it was it's own movie. I loved it.
SPOILERS
Right off the bat you can tell how well made it is. That opening scene is brilliant and it looms over the whole rest of the movie. The horror aspect is understated and serves up more dread than over the top shocks. In fact, I never thought it went over the top, something which most of these movies do. Much of the movie is this girl who we're wondering about just trying to go to college and grow up. The lesbian love story, just like the horror, is also understated. It's not a lesbian movie, and I only point it out because I like saying the word lesbian. It's handled like it's just a normal thing and not a big deal, and that's the right way to do it. Hopefully we will have movies that aren't interracial romances, but just romances. We will be where we need to be when we don't notice any of that stuff. I will always notice lesbians, but that's just me though. I hate to keep using the word understated, but that's the same word I'd use to describe the performances, which are all very good. Besides the dread and a couple of natural shocks, seizures freak me out. Thelma is one of my favorite horrors from the last couple of years.
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Assassination (2015) - Choi Dong-hoon
After one decade and five films, Choi Dong-hoon released "Assassination", a film that explores the Korea occupied by the Japanese Army in 1933, the resistance plans to kill the Japanese Commander. But their plan is threatened by a traitor within their group and also the enemies' forces are hunting them down.
I was happy before starting this film, the reason? The cast!
The always good Lee Jung-jae (New World), the beauty Jun Ji-hyun (Snow Flower and the Secret Fan) — both previously worked with Jung-jae in "The Thieves"... and one of my favorites korean actors, Ha Jung-woo (The Chaser, The Yellow Sea, The Berlim File — witch he worked with Jun Ji-hyun).
Choi Dong-hoon is one of that good directors that made good comedies, but never cross the line of his own work. It's like he's in his safe zone, and don't want to take risk. In Assassination, he crosses some lines and adds some violence (even though lower by Korean standards). He maintains the humor typical of his other works (an exaggerated humor) but well done.
Unfortunately, this humor disrupts the seriousness of the plot, I can not take the dramatic parts seriously, reminding me of the funny situations just minutes before. Perhaps it is an inability of Dong-hoon cause I saw the same problems In "The Thieves", and Tazza (this one, at least, is openly a comedy). This mixture of genres creates a salad of sensations that must always be handled with care. The films of Na Hong-jin (The Wailing, The Chaser), Bong Joon-hong (Memories of Murder, The Host) are great examples of how mixing genres.
The plot is simple, with a little of absurdities here and there, it's ok, I don't care. It's not a self serious work. The actors are the best thing of this film (Ha Jung-woo was pretty good as expected). There's some moments that the script looks too convenient, this is a problem, even in a comedy movie. Even if it has several good moments (the two major actions sequeces), this Korean inglorious bastard disappointed me in many other ways. When the credits go up, the feeling is that the movie manages to entertain, but that's all.
★★★
After one decade and five films, Choi Dong-hoon released "Assassination", a film that explores the Korea occupied by the Japanese Army in 1933, the resistance plans to kill the Japanese Commander. But their plan is threatened by a traitor within their group and also the enemies' forces are hunting them down.
I was happy before starting this film, the reason? The cast!
The always good Lee Jung-jae (New World), the beauty Jun Ji-hyun (Snow Flower and the Secret Fan) — both previously worked with Jung-jae in "The Thieves"... and one of my favorites korean actors, Ha Jung-woo (The Chaser, The Yellow Sea, The Berlim File — witch he worked with Jun Ji-hyun).
Choi Dong-hoon is one of that good directors that made good comedies, but never cross the line of his own work. It's like he's in his safe zone, and don't want to take risk. In Assassination, he crosses some lines and adds some violence (even though lower by Korean standards). He maintains the humor typical of his other works (an exaggerated humor) but well done.
Unfortunately, this humor disrupts the seriousness of the plot, I can not take the dramatic parts seriously, reminding me of the funny situations just minutes before. Perhaps it is an inability of Dong-hoon cause I saw the same problems In "The Thieves", and Tazza (this one, at least, is openly a comedy). This mixture of genres creates a salad of sensations that must always be handled with care. The films of Na Hong-jin (The Wailing, The Chaser), Bong Joon-hong (Memories of Murder, The Host) are great examples of how mixing genres.
The plot is simple, with a little of absurdities here and there, it's ok, I don't care. It's not a self serious work. The actors are the best thing of this film (Ha Jung-woo was pretty good as expected). There's some moments that the script looks too convenient, this is a problem, even in a comedy movie. Even if it has several good moments (the two major actions sequeces), this Korean inglorious bastard disappointed me in many other ways. When the credits go up, the feeling is that the movie manages to entertain, but that's all.
★★★
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Thelma (2017)
I liked this more than I thought I would as the story's premise didn't seem all that interesting to me, but the film maker showed great skill and care in making a beautifully filmed movie, that felt heartfelt. It felt like the director had great pride of workmanship in his movie.
The actress who played Thelma was the perfect choice for an un-experienced Christian girl who goes off to university in the big city where she meets the real world head on. I liked the way the film set up the mystery in the opening shot during the hunting scene (no pun intended
). From there it kept building the mystery, in an effective but subtle way.
I liked the way it explored Christianity beliefs vs the modern world. It felt like it was going to make a statement about that, but then it never did, that I perceived.
As much as I liked this, the ending felt rushed and for me was a bit of a let down. After Thelma arrived back home under her dad's care, I was expecting the film to hit it's mark but instead that's where I started losing some interest. Still a beautiful film to look at and shot and edited very nicely.
I liked this more than I thought I would as the story's premise didn't seem all that interesting to me, but the film maker showed great skill and care in making a beautifully filmed movie, that felt heartfelt. It felt like the director had great pride of workmanship in his movie.
The actress who played Thelma was the perfect choice for an un-experienced Christian girl who goes off to university in the big city where she meets the real world head on. I liked the way the film set up the mystery in the opening shot during the hunting scene (no pun intended
). From there it kept building the mystery, in an effective but subtle way.I liked the way it explored Christianity beliefs vs the modern world. It felt like it was going to make a statement about that, but then it never did, that I perceived.
As much as I liked this, the ending felt rushed and for me was a bit of a let down. After Thelma arrived back home under her dad's care, I was expecting the film to hit it's mark but instead that's where I started losing some interest. Still a beautiful film to look at and shot and edited very nicely.
Last edited by Citizen Rules; 05-21-18 at 01:59 PM.
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Guillermo del Toro has stated that we're free to believe whichever version speaks to us, but if I thought the fantasy world wasn't purely figurative, Ofelia's final dream of reaching the underworld would actually ruin the tone of the ending for me. It does support the fairy tale's moral message about the dangers of blind obedience, but I think the themes are obvious enough on their own without needing that extra push and a reward at the end.
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[b]Thelma (2017)
As much as I liked this, the ending felt rushed and for me was a bit of a let down. After Thelma arrived back home under her dad's care, I was expecting the film to hit it's mark but instead that's where I started losing some interest. Still a beautiful film to look at and shot and edited very nicely.
As much as I liked this, the ending felt rushed and for me was a bit of a let down. After Thelma arrived back home under her dad's care, I was expecting the film to hit it's mark but instead that's where I started losing some interest. Still a beautiful film to look at and shot and edited very nicely.
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I still don't know how to feel about the ending as well, on one hand it was a bit abrupt and incomplete, on the other, it can be satisfying in some odd way. The cinematography and editing were exemplary in my opinion.
WARNING: "Ending" spoilers below
Why did she kill her dad? He didn't seem like a bad guy, or was he suppose to be bad?
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