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Dead Man's Shoes (Shane Meadows, 2004)
First off, it's probably unfair that I'm "reviewing" this now after only one viewing, especially since the previous two movies I've seen before and watched twice in the last 36 hours, but after watching 24 7 and now this, I think I should get my initial thoughts out there. Feel free to continue to ignore them if it's your thing. After only two movies, I believe I have come to understand that Shane Meadows has a technique and an agenda, but I don't really want to get into that yet because I want to share what I feel about how his films make me feel. Both of these films cause extreme contradictory feelings within me. I can watch them and wonder why would anyone want to see these characters? Then, a little bit later, I'm telling myself that these are people just like me. Next up, the stories; the story of TwentyFourSeven is obviously "meant" to be uplifting, but then Meadows goes and subverts himself and his story in the final quarter hour (at least that's a way for someone to look at it). In Dead Man's Shoes, the technique is far more important than the story. Meadows has probably perfected a storytelling style where he makes you think things are going a certain way, but then he pulls the rug out from under you near the end.
While I can be repulsed by the characters yet impressed by the performers, I'm starting to wonder if Meadows needs to be so flamboyant in his technique. The films I've seen use different lighting, color (well, 24 7 was in B&W), film stock, added-in F/X (for example, why did all the flashbacks to what happened to Anthony have to be shot in black and white, have artificially-created "old-age" lines added in and be in a lower volume?) Actually, after the reveal is made, I can probably understand why those "flashbacks" are filmed in a similar style to the home movies shown at the beginning of the film since that's the way that older brother Richard (co-scripter Paddy Considine) remembers and relates to his kid brother (Toby Kebbell). There is more to say about this film and director, and I'll try to add it at the appropriate thread when I'm up to snuff. Until then, forgive me.
First off, it's probably unfair that I'm "reviewing" this now after only one viewing, especially since the previous two movies I've seen before and watched twice in the last 36 hours, but after watching 24 7 and now this, I think I should get my initial thoughts out there. Feel free to continue to ignore them if it's your thing. After only two movies, I believe I have come to understand that Shane Meadows has a technique and an agenda, but I don't really want to get into that yet because I want to share what I feel about how his films make me feel. Both of these films cause extreme contradictory feelings within me. I can watch them and wonder why would anyone want to see these characters? Then, a little bit later, I'm telling myself that these are people just like me. Next up, the stories; the story of TwentyFourSeven is obviously "meant" to be uplifting, but then Meadows goes and subverts himself and his story in the final quarter hour (at least that's a way for someone to look at it). In Dead Man's Shoes, the technique is far more important than the story. Meadows has probably perfected a storytelling style where he makes you think things are going a certain way, but then he pulls the rug out from under you near the end.
While I can be repulsed by the characters yet impressed by the performers, I'm starting to wonder if Meadows needs to be so flamboyant in his technique. The films I've seen use different lighting, color (well, 24 7 was in B&W), film stock, added-in F/X (for example, why did all the flashbacks to what happened to Anthony have to be shot in black and white, have artificially-created "old-age" lines added in and be in a lower volume?) Actually, after the reveal is made, I can probably understand why those "flashbacks" are filmed in a similar style to the home movies shown at the beginning of the film since that's the way that older brother Richard (co-scripter Paddy Considine) remembers and relates to his kid brother (Toby Kebbell). There is more to say about this film and director, and I'll try to add it at the appropriate thread when I'm up to snuff. Until then, forgive me.