live tweeted my rewatch, and bumped up a star cause I have a soft spot for this movie despite, y’know, it famously being not very good
x.com/danielfury15/status/1790078632087490820?s=46&t=2goQmFKtQRTK45q4b-fJiQ
live tweeted my rewatch, and bumped up a star cause I have a soft spot for this movie despite, y’know, it famously being not very good
x.com/danielfury15/status/1790078632087490820?s=46&t=2goQmFKtQRTK45q4b-fJiQ
brings a whole new meaning to “ghosting your man”
Anyway it’s a little disappointing that the insane bonkers narrative is saddled with such dull visuals. What I really dislike about digital cameras is the antiseptic, washed-out, flat look to uncorrected log footage, and even at a minor degree it drives me nuts. In other words, I like the contrast and saturation cranked up, which I’m painfully aware clashes with directorial intent and artistic vision, but puts me perfectly in touch…
things I’m tired of in gay movies:
- shallow focus close-ups
- handheld close-ups
- dream sequences
- slo-mo shots of the lead dancing
- ambiguous best friend crush
- cutting yourself off from your crush halfway through the movie only to reunite at the end
- the lead trying and failing to be straight
- sneaking out of the house at night
things I’m not tired of in gay movies:
- band gays
- massive attack t-shirts
- gay kissing
- gay hugging
- The camerawork on this consists of maybe one third “this is brilliant and impressive and spectacular!” and two thirds “this static tripod was the only coverage we had”. The best shots are when crane/drone sweeps around the stage, particularly during So Young, and where the camera moves in a directed way, rather than just tracking the subject (there’s a long pan during the bit where Brett sings “I supply her with ecstasy” that’s one of the best shots in…