items tagged with Sebastian Stan
Written By: Mike Schulz
If you, too, are a devotee of Ridley Scott’s Alien, you’ll no doubt remember how its title came into view during the opening credits: as a series of vertical, diagonal, and horizontal white lines that slowly appeared, beginning with the “I,” one or two at a time until the capitalized “ALIEN” was wholly spelled out. Thirty-six years later, the title for Scott’s sci-fi tale The Martian is revealed in the exact opposite manner: as a full, capitalized “THE MARTIAN” that gradually fades away, one portion at a time, until only the “I” remains.
Obviously, that disappearing act is a decidedly minor touch, especially in a film that runs just shy of two-and-a-half hours. But it might also be Scott’s most quietly clever touch, and not merely because The Martian’s chief narrative concerns an “I” that winds up left all alone. By offering a literal reverse of his 1979 achievement’s opener, Scott seems to be suggesting, with an wink, that his new endeavor will be 180 degrees removed from the claustrophobic, stomach-bursting horror of Alien, and that proves decidedly to be the case. While this adaptation of Andy Weir’s bestseller (with its script by Drew Goddard) does share some of Alien’s themes, principally the life-and-death imperatives behind deep-space problem-solving, Scott’s latest is expansive instead of spare, chatty instead of terse, heartening instead of nihilistic. It’s also, far and away, and from beginning to end, the most sheerly likable movie Ridley Scott has yet made – an exciting, moving, and altogether glorious sci-fi bear hug that leaves you feeling almost ridiculously happy. Given a career that’s found him exploring every conceivable shade of dark, it turns out that Scott looks pretty great in the light.
Read More About Ridley’S Believe It Or Not: "The Martian" And "Sicario"...
Written By: Mike Schulz
THE GRAND BUDAPEST HOTEL
Generally speaking, I’m not one to argue for the inclusion of more foul language and bloody violence in a director’s oeuvre, and feel especially awkward doing so a mere week after being bored silly by the endless profanities and exploding squibs in the latest Schwarzenegger flick. But I’ll happily make an exception in the case of Wes Anderson, at least based on his most recent outing, The Grand Budapest Hotel. Like all Anderson efforts, this one, too, could be filed in the “precious comic bauble” category, given its deliberately artificial production design and obsessively controlled compositions and overall suggestion of an improv-free zone. Yet this endlessly inventive and funny new work might boast more interior life than any of the writer/director’s other live-action achievements, and for that I’m afraid we have to thank the forcible removal of Jeff Goldblum’s fingers, and Ralph Fiennes’ tendency to drop the F-bomb into every other sentence.
Read More About The Inn Crowd: "The Grand Budapest Hotel," "Captain America: The Winter Solider," And "Veronica Mars"...
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