#i think ed norton does a really good job at giving his characters that kind of vulnerability and i LOVE that!!

[headofhelios]

Ok I am a single follower but I like hannibal tv but would enjoy ur movie thoughts I like some of the books too and have been meaning to get around to the movies 😳😳

OKAY I'M EDITING A READMORE ONTO THIS LOL I REALIZED THATS SOMETHING I CAN DO! so now my incredibly waaayyy too long answer abt my thoughts on 2002 will is under there. apologies bc this is less "movie thoughts" and more "2002 movie will thoughts" but well thats how the chips fell

GOD okay sooo for the record i am reading the red dragon book and am like 7 or 8 chapters in and full transparency im not like. enjoying it lol. the book pisses me off with its misogyny (all the women in it are either dead or it feels like you're supposed to think theyre Selfish Bitches or theyre just there for like. bizarre and uncomfortable sexual moments like the guys talking abt that woman in the elevator, or that one part of mrs. leeds diary which is like. i guess could be there to Show Her Humanity or whatever but 1. there are more ways to do that 2. the book doesnt seem particularly concerned with her humanity considering she's barely even given a first name and so far the novel hasnt seemed to disapprove of how will thinks of her as a possession of her husband) and its inconsistency with will's most important character trait or whatever (he's so intensely, extremely empathetic towards EVERYONE, even serial killers, which makes him really good at finding them! and he can never turn this off, to the point where every time he has a conversation with someone, he ends up mimicking the way they talk, even if he tries to stop! but also he never empathizes with the victims or HIS OWN FUCKING WIFE? HELLO? so it really feels less like "extremely strong empathy for everyone that he cant control" and more like "he can empathize with serial killers extremely well and also other people if we want to Make A Point in one scene instead of letting the point show through the whole book") BUT UHHH ANYWAY. MOVIE THOUGHTS. THE MOVIE THOUGHTS YOU ASKED FOR COMING RIGHT UP!

okay this is what i am worried will either 1. draw annoying tv will graham stans to my blog like flies or 2. end with me being hanged in the town square BUT. it must be said. i prefer 2002 red dragon will graham to tv will graham. and quite frankly? so far? i think 2002 red dragon will graham is better than book will graham. i cannot lie.

my reasoning: because 2002 will actually empathizes with more people than serial killers and his boss! y'know! like you'd assume someone with constant extreme empathy would! the difference between the first scene with molly in the book vs in the movie are SO striking to me now that i've read that part of the novel. in the novel he seems very... rough, i guess, and like he doesnt care about molly's worries. he doesnt seem to see things from her perspective, which especially feels like a kick to the gut because MOLLY! SEES! THINGS! FROM! HIS! PERSPECTIVE!!! she literally empathizes with him more than he does with her! what the fuck! MEANWHILE in the movie, he does seem to care about her. his assurances that he wont get too involved seem like assurances rather than him trying to get her off his back. he hugs her and tells her he loves her and i actually believe that yeah, he loves her, he knows she's worried about him, and he wants to comfort her and ease her worries. and the victims! AGAIN such a stark difference to me! in the book, will is like... uncomfortable empathizing w the red dragon, of course, but he doesnt seem to empathize with the victims all that much, ESPECIALLY not the women. he doesnt care about them. he sees them as possessions belonging to their husbands and its so fucking gross. despite already suspecting that the red dragon chooses families based on the women, he decides to waste time focusing on the husbands as a way of "asking permission to look at [their wives]." what the fuck? meanwhile in the film, he feels for the victims so much that he can barely even say that the kids were shot in bed! when he watches the tapes, he focuses on the women! because that's his fucking job!!! and we see him empathizing with them! wow!!

siiigh okay im gonna stop talking abt the book vs the movie now bc again im only like 8 chapters or so deep. but now we come to tv will vs. 2002 will, which is admittedly gonna be more subjective and part of that it bc i cant remember a whole lot of specifics from the show bc my memory is Very Bad. but anyway

let's get the shallow stuff out of the way. yes i prefer ed norton's face to hugh dancy's. call hugh dancy "gender" or whatever have your fun i support you and your right to call any blood covered man a gender but by god is that not even REMOTELY my experience. next shallow thing to get out of the way: ed norton's line delivery is like music to my FUCKING ears compared to hugh dancy's i am so sorry. like the jokes about will shaking like a damp chihuahua before taking 5 minutes to stutter out "he's killing them....... On Purpose, jack." are funny and all but christ i had SUCH a hard time watching the show bc of that im not lying. literally hearing 2002 will just say "he's not keeping them. he's eating them." nice and quick, matter of factly is better than well im actually gonna end that sentence there but you get the idea. like YESSS you little blonde bitch get to the point i love you!!!

OKAY NOW less shallow points but also less uhh idk man i just dont remember a lot of hannibal. but basically: after seeing how caring 2002 will is, i'm kind of... idk i'm just so over tv will and how abrasive and harsh he is in comparison. like i fell in LOVE with how vulnerable 2002 will is, how he feels like he cares deeply about the people around him (and honestly... idk i cant remember a moment in the hannibal tv series that made me feel the way i felt when 2002 will can't say "the kids were shot in their beds". it's like... yeah this is a guy who feels so deeply for everyone around him at all times. i believe that.) and i just dont remember getting that same feeling from tv will. i have been gently spoon fed the most excellent chocolate pudding and everything else in my memory is just a snack pack. i guess tv will has those moments (what comes to mind is when he brings gideon to hannibal's house and is crying and he says "please dont lie to me") but idk they just didnt really do for me what 2002 will does. and then their scenes with reba! wow! i rewatched the tv version after watching red dragon, bc the film version made me tear up, meanwhile the tv version i barely remembered and i wasnt sure if that was just bc of the different mindsets i was in while watching them or what. and ok i just rewatched the tv version again and like... yeah. it's the wills lol. i LOVEEE tv reba SO much she is giving everything in that scene!! she sounds so like... broken, both bc of dolarhyde's apparent suicide and bc of finding out who he was + what he was doing, she sounds so fragile and guilt ridden! she's amazing!! but will. idk. tv will's delivery just seems... idk this feels dumb to say but it sounds like writing. i admittedly LOVE the line "people who study this kind of thing say that he was trying to stop because you helped him." and his delivery there is good. but between tv "you didnt draw a freak, you drew a man w a freak on his back" and the 2002 version, the 2002 delivery seems more genuine while the tv delivery sounds rehearsed. idk overall the 2002 version of that conversation just makes me feel more? its like. idk i can feel the 2002 version gently holding my heart while the tv version is a scene that is nice in h/nnigram gifsets or w/e.

umm ok this is already suuuper long and my brain is getting a bit mushy so i'm gonna start wrapping it up lol. i'll probably compare book will and 2002 will again after i finish the book, and then i miiight rewatch hannibal, or at least parts of s3. but right now my thoughts are basically: book will is a fucking dick who has an easier time empathizing with serial killers than with his wife. tv will is a nothing girl after being so completely catered to + also idk he doesnt have the same fragility that i want from my wills now. and 2002 will is my little caramel apple. he has this delightful vulnerability and feels like he cares so much and empathizes with more people than serial killers and his boss and 4 people in a diner for one scene! 2002 will made me care about will graham! which is honestly kind of a feat!

#long post #like so so so long #my condolences anon and also anyone following me who doesnt want this on their dash #but yeah 2002 will is my booboo bear my cinnamon swirl coffeecake my little heavensent angel #and ed nortons performance made me feel more than hugh dancy's #i think ed norton does a really good job at giving his characters that kind of vulnerability and i LOVE that!! #like yeah whatever 'you're gat arent you dont you just think hes hot' sure say that but also like #have you seen him in primal fear? its a movie thats a firm Its Complicated for me but his performance is so good and he feels so vulnerable #and even in fight club and kingdom of heaven i think he gets that in there! idk i genuinely think he's a good actor #personal #red dragon #if im writing an essay i may as well put it in my tags #asks #anonymous #<- FORGOT TO ADD THOSE TAGS. anyway #EDIT: NOW FEATURING A READMORE LOL.

[anneapocalypse]

Anne watches MCU: Captain America through Age of Ultron

My trek through the Marvel Cinematic Universe has continued but I really slacked off on making posts about it after the first, uh, three, so here's a catch-up post!

And as a note, I am watching the films in release order, but for simplicity's sake I'm grouping some origins and sequels together here.

Spoilers for everything through Ultron, as well as some mentions of Civil War and Captain Marvel.

Crossposted from dreamwidth.

Captain America: The First Avenger (2011) & The Winter Soldier (2014)

Captain America to me marks a turning point in the MCU, the moment when these films reach a level of sincerity and groundedness that will become a standard in superhero films. And as such, the Captain America series is one of my favorites within the Marvel universe. World War II has also long been an interest of mine, so it's no surprise that I enjoyed the first film so much.

And when Steve reawakens in the modern day and becomes one of the Avengers, carrying on the ideals that made him who he is, I love that too. I would say Winter Soldier is as much an Avengers movie as it is a Captain America movie (the same has been said of Civil War) because once Cap enters the present day, you can't really have Cap without the Avengers.

In the hindsight of having recently seen Civil War, think this is partly because Steve, more than any other Avenger, is defined by his relationships to other people. His friendships, his rivalries, his loyalties—these are what make Steve Rogers who he is, both in the past and in the present. Steve's whole life is shaped by his friendship with Bucky Barnes. His first thought upon waking up in another time is not of the world he has lost but the people he has lost. And his new friendship with Sam Wilson is easily one of the most delightful moments in The Winter Soldier.

I will say that my primary disappointment with The Winter Soldier was that it wasn't really an origin story for Bucky Barnes. There is not a lot of character development for Bucky himself—it is still very much Steve's story. But the focus is again on Steve's relationship with his old friend, and his refusal to give up on Bucky ultimately saves them both.

And I think that focus on relationships is also what makes Captain America a favorite for me.

The Avengers (2012)

I really wish I had written about this movie when I first watched it, because my memory of it is now very much colored by having seen Age of Ultron and Civil War since. Attempting to set that aside, I did enjoy this movie when I watched it, though not quite as much as I enjoyed Captain America.

The Avengers is absolutely not a standalone film. This is definitely the point at which the MCU truly becomes a shared universe, and the origin stories we've had so far are really not optional for understanding these character dynamics.

The tension between Steve and Tony does make sense, both for the characters themselves and as a kind of meta commentary on the evolution of the Marvel universe: Tony Stark's layers of defensive irony set against Steve Rogers' straightforward sincerity.

There are other character beats that work for me in this movie as well. We get the best character development for Natasha, given that she doesn't get her own movie. (CRIMINAL.) That she successfully plays Loki, out-tricks the Trickster, is a truly beautiful moment. Ruffalo's Bruce Banner establishes pretty clearly that he is not Ed Norton's Bruce Banner. And Tony/Pepper manages to grow on me a little bit.

Loki as a villain is... okay. I think it's pretty clear by the end that his plan was never really about dominating Earth, but about causing chaos—which he does, pretty successfully, and in the hindsight of Civil War, said chaos has some far-reaching effects. That part works for me. On the flip side, I really hate mind-control MacGuffins; I think they're a lazy means of getting characters to do whatever the plot requires without having to justify the characterization in any way or deal with the aftereffects, and in my opinion Marvel overuses this trope to death.

Hawkeye as a character is absolutely wasted in this movie, as we have no idea who he is before he is controlled by space magic.

This ties into a larger issue with the Avengers series that, again, feels much more prominent after seeing Civil War: the Avengers aren't a team. Not really. They're a group of solo superheroes attempting to work together. This would be fine for a first Avengers film if the plot were about building them from a group of loners into a real team. But this film isn't about that. It's about dividing them before we've really seen them united. We are told, and not shown, that Natasha and Clint are close friends; beyond that, who on this supposed team actually have a reason to care about one another? And by the end, what has this film really accomplished in terms of building a rapport and making the Avengers feel like a team?

I think the fact that they end the film sitting around a table eating shawarma in stone cold silence says it all.

Iron Man 3 (2013)

The third Iron Man movie begins to bring Tony Stark a little more in line tonally with the other Avengers. Tony loses none of his distinctive character, but his experiences are treated more seriously in this film, with Tony suffering from PTSD. It also explores how the events of Thor and The Avengers have challenged Tony's arrogance as a former lone-wolf superhero driven by technology and his own extreme wealth.

By this movie I'm pretty well over Tony/Pepper. Pepper loves Tony, she cares about him—but she never seems happy with him, only constantly stressed, and as a viewer who loves Pepper, it's honestly not fun to watch. This is something I think Nolan's Batman series better understood; there's a reason Rachel doesn't wait for Bruce. The genius billionaire superhero is a terrible boyfriend. Marvel, unfortunately, doesn't really want to acknowledge that. For Pepper to be happy with Tony, Tony needs to change, and Marvel doesn't really want to change Tony. For Pepper to leave Tony means the hero doesn't get the girl, and Marvel doesn't want that either. So we're left with this tiring, unsatisfying relationship, and I'm super over it.

To add insult to injury, Pepper gets superpowers and doesn't even get to keep them.

The MCU has a Women Problem, and it's really, really obvious in this film. I do like parts of it very much; it's undeniably enjoyable to watch, and I like a lot of what it does with Tony. But it's also representative of some of the cracks in the Marvel fresco as a whole.

Thor: The Dark World (2013)

Darcy is the most fun character in the Thor movies at this point, and to be honest I kinda like her more than Jane.

The Dark World is another fish-out-of-water story, only this time it's Jane that's the fish. I didn't hate this movie, but it didn't make a huge impression on me, as evidenced by the fact that I can't find any notes for it. :P I enjoyed the stinger of Loki being alive at the end (I knew he was going to be, but it was still fun to watch), and I was pissed they killed Frigga (one of my favorite characters in the Odin family).

And once again, we have a female character infused with a force of tremendous power and she isn't even allowed to keep it. Are we noticing a pattern here, whereby with men, superpowers are celebrated no matter what kind of horror they went through to get them or even how much they hate themselves for having them (hello, Bruce Banner), but for women, superpowers are a horrible curse they need to be rescued from?

Yeah, Marvel has a women problem. NEXT!

Guardians of the Galaxy (2014) & Guardians of the Galaxy 2 (2017)

Along with Captain America, Guardians is tied for my favorite series within the MCU. It is unapologetically fun, yet still sincere in its own way, striking a fresh and unique tone for the MCU.

These two movies are excellent and in my opinion, do a much better job of showing a band of loners becoming a team and building a rapport and learning to trust one another than Avengers did.

There is no character among the Guardians I don't love, and the restraint with which Quill and Gamora's relationship is handled (in that they build a friendship, rather than making Gamora Peter's prize for becoming the hero) is damn refreshing. Drax is simultaneously hilarious and sincere—in fact his humor comes from his innate sincerity. Rocket Raccoon exemplifies the kind of insecurities all the characters must overcome to work together. And both Gamora and Peter show self-reflection and growth in the second film, Peter by facing down his own ego, Gamora by acknowledging what her sister Nebula went through without denying her own suffering.

These films, especially 2, are all about relationships, including complicated and troubled relationships, and that's probably why I love them.

Avengers: Age of Ultron (2015)

Age of Ultron was a weird watch for me.

There were things I liked about it a lot, Natasha's relationship with the Hulk and Clint finally getting some long-overdue character development especially. And yet I came away from this movie feeling more tired than anything else. There were some good character moments, but the story did nothing for me.

Most of all, though, I think my exhaustion stems from how deeply formulaic the Marvel films have become at this point. They're just really, really predictable. I'm already tired of AI-centric plots not thinking of anything more creative to do with their premise than "It tries to wipe out humanity/take over the world I guess." This story feels utterly phoned in.

And even in terms of relationships, this film doesn't really hold up. For one thing, the whole setup of the film is the continued tension between the Avengers, most prominently Steve and Tony, which has never really been resolved. Tony going rogue and activating Ultron isn't so much a betrayal of an established trust as it is simply highlighting the fact that there isn't any.

Meanwhile, Natasha and Bruce are bungled... badly. Much has been said about the conversation in which Natasha seems to be saying that being infertile makes her a monster. A generous reading can attribute this to bad dialogue, appearing to frame the "monster" remark around Natasha's infertility when she is meant to be remarking on the fact that her greatest strength is as a highly efficient killer. But in light of Marvel's Women Problem, that reading really isn't any better. In some ways it's just as bad or worse, as it once again frames power in a woman as a curse rather than a gift. Either way, it's not really a valid comparison to Bruce's specific angst, which is unique to him: he is possessed by a power he not only never wanted, but cannot control.

(No wonder people are confused when Carol Danvers doesn't have to be brutalized to become powerful, or hate herself for being so. It breaks the rules. And thank the gods for it.)

One bright spot in this film is the introduction of Wanda Maximoff, the most powerful heroine we've yet seen in the MCU. Vision, by contrast, feels like a fairly pointless character to me. I feel like everything he did could've been done by someone else, and he's only here because he's in the comics.

I’ve also watched both Ant-Man and Civil War this week, and took copious notes this time, so expect posts for those films soon.

#anne watches mcu

[rankakiu]

Thoughts of the Droid: Alita Battle Angel (2019)

Hello, people of Tumblr! How life treats you? As always, I hope very well. Finally, I had the opportunity to see the movie I most expected from this 2019: Alita Battle Angel

It is another Hollywood effort to adapt a Japanese franchise, being the turn of the series "Hyper Future Vision GUNNM" by the author Yukito Kishiro, which has become over time a reference and classic of the genre of science fiction and Cyberpunk, at the same time having gained the status of cult work. And this time, Hollywood, with the help of James Cameron and Robert Rodriguez have brought us their live-action version, which has given to talk in the middle of the cinema and among fans of anime/manga.

WARNING: NOT SPOILER-FREE. Read at your own risk

Entering already in the review, what did I think about the movie? Short answer: Entertaining, but could give a little more of itself. Now let's analyze the movie in more detail.

Characters: In my opinion, the strongest point of the movie. The interpretations of the actors could not be more accurate and you can see the effort they have put into playing their respective roles. I particularly emphasize the actress Rosa Salazar in her role as Alita and Christoph Waltz as Dr. Dyson Ido. Salazar has done an impeccable job and I, as a spectator, felt that I saw Alita in all her personality and glory. A kind and innocent girl who discovers and marvels at a world that is unknown to her. In this part, they knew how to perfectly balance her surprise and innocence, without Alita looking ignorant or silly. We also have her other side represented perfectly: a lethal soldier who possesses the soul of an entire warrior, with touches of arrogance, whose combat techniques make her a formidable adversary. And whose memories are unlocked little by little making use of their main weapon: the martial art of the Panzer Kunst.

Christoph Waltz, on the other hand, makes a very solid interpretation of Daisuke Ido ... sorry, Dyson Ido, a father figure for Alita. In fact, that aspect pleased me a lot about the movie, which at all times shows an authentic relationship between father and daughter that gets stronger as the story progresses. We see a Dyson Ido, who despite not agreeing with Alita in some circumstances, supports his adopted daughter unconditionally.

I also highlight the actors Keean Johnson and Ed Skrein in their roles of Hugo and Zapan, respectively. They also show that they studied their characters and represented them quite well. We have a Hugo here, who, like his previous incarnations, has the dream of going to Zalem in search of a better life. On behalf of Ed Skrein, he gives us an arrogant and vengeful Zapan, ready to defeat and humiliate Alita.

In general, the rest of the cast works pretty well inside the movie. (By the way, very good detail of those involved in keeping the surprise of Edward Norton as Desty Nova, since seeing him there in the film was a real surprise, and a nice to finish XD).

History: Ironically, this was the weakest point I found in this movie. At first, the story progresses well, but after a few minutes, the story feels rushed, presenting a huge number of characters in a very short period of time, apart from that they explain their characteristics, instead of showing them in the scene on the big screen.

However, I firmly believe that what it plays against was that they tried to make a perfect amalgamation between the first three volumes of the Japanese comic and the two existing OVA’s of the franchise. I recognize that there are scenes of this style that really work, but a good part of them feels that they pass too quickly and does not allow a real conflict between the characters to be generated. In addition, I also believe that Cameron and Rodriguez did such a good job of pleasing the fans, that they almost completely forgot to include more people, that their adaptation was more universal for the entire audience. I understand that in a movie the time is quite limited, but they could make an effort to deliver a more cohesive story. By the way, the violence in the film, although very reduced and soft compared to the original material, is appreciated to see it.

Something that seemed unjustifiable to me in the movie was that they removed all the history of Hugo's past, is essential to understanding his motivations. They kept his dream of wanting to go to Zalem, but you never understand why he wants to go to Zalem. Of course, long before the premiere, I read the volumes of the original Japanese comic, so, even when they missed that part, I understood the reason for Hugo's dream. But someone who approaches the franchise for the first time with this movie will never understand why. Also, you have the scene where Hugo climbs up one of the cables that hold the floating city of Zalem. In the Japanese comic and OVA, you understand that he climbs as a last and desperate alternative to fulfill his dream of belonging to that city. On the other hand, the movie goes up because the hunter-warriors know that he is still alive. Partly it is justified, but it feels forced and taken out of nothing.

As I said above, the story feels rushed and this is more noticeable in the inclusion of Motorball sports scenes, which I would have preferred to have been in the final part of the film and the other two rooms focusing on Alita in her role as hunter-warrior. We have another case, where the final confrontation between Alita and Zapan is hurried and one can barely enjoy the scenes. Almost has no impact on the viewer and to top it off, the change of heart of Chiren, now determined to help Alita feels too forced. It also happens in the case when Zapan loses his face at the hands of Alita, where the scene does not have enough impact to astonish the spectator.

But what intrigues me the most is: how in the end, Alita stays as a Motorball player if practically scenes ago she made rebellious acts against the Factory? Practically entering, dismantling machines, destroying facilities and killing a person (Vector) is enough to put a price on the head of our protagonist. And yet, there you see her at the end very removed from grief and the Factory does not put any reward for her.

But not everything is bad. In favor of the film, I will say that the inclusion of Hugo at the beginning of the story was a success since it allows the romance between Alita and Hugo to unfold naturally. You also feel that in truth chemistry between the actors, which makes their romance more tender and therefore more credible. I highlight two scenes in particular: the first where Hugo teaches Alita to play Motorball and the second where he gives her chocolate to taste for the first time. In the first, they spend more time together and therefore you can feel that their romance is born little by little. It is in the second scene where you see more the innocence of Alita that causes you to die (not literally XD) of tenderness, without forgetting that also this scene has its comic touches well achieved.

It is also fair to mention that the scene of Hugo's death is very emotional and finally we see how Alita is affected by that event. We see her mourn, her sadness, anguish, and despair to witness the death of the man she loved. As a spectator, it moved me a lot.

On the other hand, the justification of Dr. Ido to be a Hunter-Warrior is perfectly raised, since the loss of his biological daughter affected him so much that he decided to make his own justice. In general, it is a very valid reason and the proposal of the film goes further, by presenting an Ido, who after achieving his revenge, did not leave him satisfied, but even worsened his feeling of emptiness. It is quite similar to what the Japanese comic raises originally where Daisuke Ido, to prove the experience of killing, could not leave that profession, being a declared murderer. Something similar also happens with the end of this movie. I will also mention that here it makes more sense that Ido and Chiren have been a couple and their subsequent separation is equally well justified. Here Ido, with Alita, has again the opportunity to return to be a father, and the viewer sympathizes with Ido in that aspect. In general, the scenes that narrate the good doctor Ido's past are brilliantly realized.

If I had to highlight a scene that combines the Japanese comic and the OVA and if it works to perfection, without a doubt it would be the scene of the Bar Kansas and the subsequent fight between Alita and Grewishka. Interestingly, here if you feel a perfect amalgam between both formats and brought to life for the big screen. We have Alita who goes to the Bar Kansas for two reasons: one, seek to prove herself as a warrior hunter, and two get help to stop the evil Grewishka. It turns out to be an impeccable scene, where in spite of giving some events in a different way, it also preserves the essence of both previously mentioned formats (especially the japanese comic). It is here that the arrogant, but charismatic part of Alita is observed, humiliating the other hunter-warriors by telling them the painful truth, accompanied by a beating of epic proportions. On the other hand the sequence of the fight in the bar is very well achieved, reminding us of the fights that occur in the bars of our world XD.

The fight between Alita and Grewishka is the best achieved, having a great intensity in action. It is here where they also took many scenes from the Japanese comic and knew how to transfer them to the film. Here we see an Alita whose inner warrior reappears with more strength than ever, and despite the difference of powers and abilities, she knew how to stand up to her opponent, even when, in a peak scene, her Doll Body is destroyed, Alita never surrendered in the fight. Fortunately she was saved by the help of Hugo, Dr. Ido and the hunter-warrior McTeague. Particularly the scene where Dr. Ido carries the battered body of Alita is moving to see, as one as a spectator feels the affection and paternal care that Ido shows at that time with his adopted daughter, in addition to recalling a classic scene of the Japanese comic . Certainly a maximum point is reached when Dr. Ido rebuilds Alita with the Berserker Body, where he understands and accepts the warrior soul that is inside Alita.

To finish this point, I will say that the scene that I liked the most was precisely the one at the end, where Alita unsheathes her Damascus Blade and points to the sky. We also see Edward Norton in his role as Desty Nova, accepting the challenge of his enemy, a sublimely performed scene, where Alita accepts herself as a warrior, promising the destruction of Nova with a will of steel. Extra points for the design of Nova, where it really looks like its Japanese comic counterpart, without looking like a bad cosplay. In general, Nova's dialogues, along with his brief appearance, left me asking for more of this iconic character.

Visuals and special effects: Simply great. In truth here I recognize the effort they made to present the world of Alita. We see the floating city Zalem in all its corruptive glory, and the Iron City, with its people living as pleasantly as possible, but also presenting their constant problems to survive in an environment too hostile, full of poverty and murder.

The strongest point is the design of Alita and her cybernetic bodies. I still remember the controversy (which fortunately did not happen to major) that generated the fact that Rosa Salazar made her interpretation with the Capture Performance technique and above all, the decision to make the eyes of Alita enormous. To the relief of the majority, that was only a minor detail, since, in the final product, Alita looks pretty good. In all the scenes It looks totally beautiful, besides that, in spite of being a Cyborg, its movements are quite natural and fluid, like those of any other human. The designs of the cyborg bodies are really beautiful, in addition to offering some contrast to differentiate them. We have the Doll Body, whose design is simple, but close up it has ornaments that make it feel empty, in addition to its color palette is warm, ideal to represent the innocence and kindness of Alita. On the other side, we have the Berserker Body, whose design is more elaborate, but not saturated. And their colors are quite indicated to represent their warrior side.

Action: There is not much I can say, except that it is really very good and very well done. It's a frenetic action, but you can clearly see the fast movements of the characters. Once again I highlight Alita, whose movements are not only fluid, but also note that these movements, when attacking, dodging, pirouetting in the air, kicking and punching, you notice a huge physical force in her attacks and above all, her movements are more by instinct, as would be expected of her character, who instinctively recalls her training in the Panzer Kunst. The Motorball scenes are fast, you feel the intensity of the sport and in general, it feels like in its counterpart of the Japanese comic: a sport full of adrenaline and without mercy. The action does not disappoint.

In conclusion, Alita Battle Angel is a decent and acceptable film and adaptation. It is entertaining to watch and one can get to enjoy the experience. However, one also feels that the film had more potential, which unfortunately did not come to fruition at all. This film would recommend it more to Die-Hard fans of Alita or as a way to have a good time to get rid of boredom. For my part, I will say that this movie has become a guilty pleasure. No doubt I would see it again, but with certain reservations. For now, I give this movie 2.5 out of 5 Damascus Blades.

I'll finish my review by saying this: In part, I'm glad to see Hollywood keep trying to make adaptations of foreign franchises. As far as I can see, this industry is taking more seriously to rely on the source material and represent it in the best way they can, in addition to dealing with more some respect to the franchises. In fact, they still have a way to go, but I feel that they have already taken the right path. It is only a matter of time before they finally deliver an adaptation that is universally acclaimed. I count that it will be like this in the future.

Greetings

Rankakiu

Edit: I added my thoughts on two more scenes of the movie. So, I feel that my review is at last complete.

#hyper future vision gunnm #alitabattleangel #alita battle angel #live action #rosa salazar #keean johnson #christoph waltz #ed skrein #movie #adaptation #review #opinion #thoughts #thoughts of the droid #rankakiu

[imwithmars]

Flaunt Magazine 2004 interview

David Fincher – “It goes kind of like, ‘How   can you tell when Jared is lying? His lips are moving.’”

Rock & Roles –

Flaunt Magazine, by Shari Roman

December 2004

“This is fantastic,” murmurs Jared Leto as the relentless Moroccan   sun sears destiny into his bronzed, bare skin. He is sweating under his tight  armor. His dark horse, Mateo, quivers beneath him and paws the ground nervously. A signal is given.

Leto howls a great animalistic yowl straight from his belly to the ears of   the gods. There is another howl, then another. Thousands of voices fuse into   one animal cry. A legion of alpha males surges forward to meet the enemy, Leto,   blond hair hair streaming past his shoulders, muscular thighs gripped bareback   on his galloping horse, rides hard into the thick of a bloody combat. His sword   cuts through all who oppose him.

This is the filming of Oliver Stone’s Alexander and the legendary battle of   Gaugamela, Alexander’s greatest victory over the Persians - a turning point   in his conquest of the known world. Stone’s sweeping historical saga charts   the life and the legend of one of the greatest figures in world history. The   story is an epic that is a daring and ambitious as its subject, a relentless   conqueror who, by the age of 32, had amassed the greatest empire the world hade   ever seen.

Through the clouds of dust, Leto can see Colin Farrell as Alexander the Great,   his massive blade slicing into flesh and sinew. There is the director, Oliver   Stone, shouting, moving rapidly behind the camera line. There are hordes of   men bellowing, bleeding, bodies everywhere. On the fringes lurks famed military   trainer and Stone cohort, Captain Dale Dye. Today, the Captain isn’t wearing   his favorite T-shirt emblazoned with the motto: “Pain is weakness leaving   the body,” but Leto needs no reminders.

Leto has always propelled himself into physical extremes to live inside a character.   As the champion runner Steve Prefontaine, he bled his feet to the bone. In the   drug-fueled Requiem For A Dream, he reportedly swore off sex (with then girlfriend,   Cameron Diaz) and lost 28 pounds to play a junky. Then there was Fight Club   (he’d been recommended for the part his friend, fellow pretty boy, Brad Pitt.),   in which he begged to have his angelic face beaten to a pulp by a jealous Ed   Norton to prove his fealty. Suffering, pain, causality, creation through transformation.   Leto has pledged himself above and beyond to those epithets years ago.

“Killing people face to face for a living, that was their job,” explains   a laidback Leto a few months later from a low-key restaurant in Southern California.   It’s early afternoon. His clothing is relaxed and he looks pleasantly tired.

“It’s not jet lag. I’m over that. I just couldn’t sleep.” It’s not   due to time spent with his (purported) new, luscious It-girl Scarlett Johansson.   He’s been concentrating on working on some new songs for his band, 30 Seconds   To Mars, taking meetings between rehearsals before he heads off to New York   and South Africa for three months to play another aggressor of sorts - an arms   dealer - in the film Lord of War, with Nicolas Cage and director Andrew Niccol   (Gattaca).

He is still pretty tan, making those pioneering blue eyes even more startling.   His long, blonde warrior-god locks are gone now, dyed and clipped into a light   brown Erik Estrada-style shag for the new movie. But there is still a trace   of the Irish lilt he took on for Alexander. (Aside from gearing it toward Farrell’s   natural tones, Stone’s rationale for the accent was that historically, the Macedonians   were to the Greeks what the Irish have been to the English.) Most of the 15   pounds of muscle weight that he strapped on for the six-month shoot has slipped   from his slim frame. Even so, the intensity of that experience is still on his   mind and in his body.

“The film has plenty of f***ing and fighting and killing and death and   blood. My job was to murder people and stand by Alexander.” who, according   to history, was his best friend since childhood, and his lover.

“Hephaestion, the character I play, and [Alexander] have a really special   connection. It’s a strong, strong relationship. I don’t think there is a term   we have today to define their relationship,” he says, deliberately muddling   around the oft-asked erotic question.

Farrell says, “There was no term for 'bisexuality’. It was just the way   society was. People made love to men and women. It was only later on you had   to pick one side of the fence.”

“But I promise you, in the film,” Leto teases, despite the magnetic   charms of Farrell, and costars Rosario Dawson and Angelina Jolie, who play Alexander’s   wife and mother, “the only kiss I gave out was to my horse. My one true   love.”

He takes the tape recorder and places it gently against his chest, which holds   within it the soul of a man who many have tried to reveal before. “I always   tell the truth. What else do you want to know? What do people really want to   know? What is the truth?” His face is a pure cheeky choir boy dare. “When   have I ever not told you the truth? How can you tell that I’m lying?”

I remind him that the last time we met, he told me he owned three Uzis, that   the first girl he kissed was a 47-year-old tranny named Jorge, that he was 19,   raised by circus performers, and that he studied art at the American University   of Paris for a semester, but was booted out when he wouldn’t give in to the   attentions of the headmaster. And he wouldn’t back down to any of those “facts”.

He laughs. “Really? As Ronald Regan used to say, 'I have no memory of   saying such things.’ ”

Says producer/director David Fincher, who worked with Leto on both Fight Club  and Panic Room, “When it comes to his acting, he is beyond method. He gets  into this whole image of his character. It is interesting how that kind of pain and sacrifice can translate. I mean, look at Requiem. I wish I had 100 Jareds   working for me. He was amazing.

"Jared definitely strives not to be a victim of his genetics. On the films   we did together, he was the guy who is constantly curious, the one you couldn’t bottle up. The one who wouldn’t hit his mark. He was like, 'Hey, I’m living it! Over here!’ But he does like to tell stories. It goes kind of like, 'How can you tell when Jared is lying? His lips are moving.’ ”

Leto, who prefers to see his playful fibbing as a way to keep his private life   private, was born the day after Christmas, 33 years ago, in Bossier City, Louisiana. His mother was an artistic soul, and with his father out of the picture, he and his brother, Shannon (who is also in 30 Seconds To Mars), traveled a great deal while they were growing up. After a stint at New York’s School of Visual Arts, he says, he came to Los Angeles around 12 years ago with a couple hundred bucks in his pocket, no friends, and nowhere to stay. For awhile, he slept on Venice Beach. Then kaboom! a role on television’s My So-Called Life (opposite Claire Daines) and for the next few years, he reigned as a teen pinup - a tag   and a look he has been successfully living down ever since.

According to Leto, “Luck is the residue of destiny.” It’s a phrase   he’s heard which he likes very much. He feels it means that we can get caught up in so many things, but the world has what it has for us. That, in our natural state, everything is the way it’s supposed to be - free and joyous - and that our own insecurities get in the way of all that. It’s an idea which could be   applied to his early life.

“When I was young, all that traveling was exciting,” says Leto. “You   do develop an ability to read people more quickly. You have to learn to adapt to whatever comes along, to survive. Maybe the way I grew up is why I’m drawn to acting, to different characters. From film to film, I’m constantly finding myself, reaching different places outside and inside myself. I want to change, to morph into something else.” To be able to do that for Oliver Stone is a gift, says Leto. “He is one of my f***ing heroes. He is a great man. Present, connected, very physical. I find his way very endearing.”

To work with Stone, he traveled to Morocco, where the oncoming sunset had turned the world orange, into the color of dark rust. But the sky was growing dark, the golden scorpions were scuttling under the rocks, another sandstorm was moving toward the camp, fast.

Within moments, Leto, wearing his usual training gear - a T-shirt, tight shorts,   boots covering his calves - couldn’t see two feet ahead of him. The sand whipped raw against his skin as he made for his tent. Inside, he tightened the flap and listened to the wind howl. He had switched off his cell phone, his e-mail. He hadn’t spoken to anyone in the U.S. for months. Apocalyptic fantasies crowded his brain. Many in the cast had already been horribly sick. There was a virus in the dust. His tent was next door to the latrine and he could hear cast and crew heave by the dozens.

One night, Leto got so sick, he thought he was going to toss a spleen.“I lay in bed for a couple of hours staring at the stars, just breathing really   slow, willing it away. I fell asleep dreaming strange, surreal dreams. When   I woke up, it was gone. That’s the desert.”

Says Dawson, “It was beyond primal, all those men bonding - horse training,   fighting, all buffed up wearing nearly nothing. And as soon as a woman came   on set, the energy was so damn erotic.

"One time Jared came to visit the hotel [where women stayed]. He was so   happy to be there. He got to take a shower, have some proper food.So he’s talking, sitting there, and just sort of adjusting the package, not sexually, but in   this slow, languorous way, like there was no one else around.It was all suited   to his character, but I was like, 'Hey dude…’

"And he was like, 'I’m sorry! We’re out there in our underwear and boots   all the time… maybe it’s got us a little too relaxed.’ Maybe. But it was all   good.” She bats her eyes.“It was wonderful being around that kind of really masculine environment.”

“Oh, Rosario,” responds Leto, “she is so beautiful. Such a great   woman.” He drops his head, smiling, not exactly asking for forgiveness.“Working on Alexander was an amazing experience. It’s all about connectivity. There is an old saying that the greatest leader is the servant of them all. Meaning, you are the most powerful when you are giving.”

“I think that as an artist, in any kind of expression of creation, that   you must have to be in love with the process. It is the most exciting part of the work, and that if you have a desire for greatness, you will have to be willing to f***ing bleed. I think it’s true for me.That’s what drives me.”

He claps his hands over his face. “F***. People are going to read this   and think, 'What the f***? Is weirdo Leto on crack? Hitting the old acid tab again.’ But honestly, it’s what I believe. One of my favorite things about getting older is that my intuition is often wrong.To me, it means I’m uncovering something   new about the world.

#flaunt magazine #jared leto #2004 #interview #did i ever post this? #he used to give great and funny interviews