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I wouldn’t say I’m “offended” by criticism. I can agree, disagree, or be to totally baffled by criticisms, even praises. I think David Arnold’s scores are for the most part useless, but I understand why they’re easily appealing to fans, just like I understand why Eric Serra’s score is unfairly derided just because fans have a narrow view of what constitutes scoring. In my opinion, of course ;)
And yes, I’ll even defend “Ladies First”.
I don't think that Arnold's scores are useless. They're unremarkable if you listen to them isolated from the movie, but they are fine as what they are designed for. I agree with your view on Eric Serra's GE score, which I find remarkable...however minus "Ladies First" which I'd put in the bin with the worst of Bill Conti's disco score for FYEO. The only ones I find lacking are the scores by Thomas Newman (not that much, but he's written more memorabvle stuff) and especially Hans Zimmer's take on NTTD, which sounds like any other Hans Zimmer take on a movie score. Must have something to do with algorithms.
Those scenes were brightened by Connery's inner radiance.
What’s worse is that it doesn’t look like there was any additional lighting on the set. It just looks like someone simply cranked up the exposure on post and called it a day. Or at least, that’s how the scene comes off in the final product.
Watch out for fakers out there.
These trolls or just frustrated fans who fall for this crap are killing these movies before they even come out and just because they have their own political and social agenda against certain things. They would rather ruin a film that could possibly be great in favour of following this ridiculous "woke" narrative constantly, and now I'm not saying Hollywood doesn't pander to minority audiences on occasion...
...but if you expect "danger" round every corner, you'll never actually feel safe. If that analogy makes sense lol.
Kind of cool how his face looks two toned. Light and dark. Perhaps trying to play on the theme of Graves being heralded as a hero for the age and yet the dark side lurking beneath.
I don’t have a problem with artificial light sources. That’s just cinematography. And a good DP knows how to make artificial lights feel “right”. Not factual, but right.
I also don’t have a problem with dominant colour schemes in movies like blue or yellow. Provided they are done through lighting and not cranking the sepia setting all the way to the right.
Check out the burning manor sequence from Skyfall: it’s all yellow. But it makes sense. There is a burning mansion! indeed the whole scene should be bathed in yellow. And Deakins achieves this effect with lights, not colour correction. Check out the behind the scenes footage of Skyfall or Blade Runner 2049, all the mono-colour dominated scenes look almost the exact same in production as it does in the final film! That’s lighting chums.
There is another way to do these things. MTV was rather famous for it in the 90’s. Which is the crank the colour so high in one direction that the sky looks like bad porridge and the eyes look like people have jaundice. That may be art to some, but not all art is good. 😎
For once, I agree with @mtm. Lighting and colouring are just two of the tools in the filmmakers' shed. Like salt on our fries, a little goes a long way, but too much makes you sick; I'd never advocate overusing anything. But it's the filmmakers' choice ultimately, and we can decide afterwards how much we like it, if at all.
I'm also reminded of the look of KOTCS, where people were given an artificial 'halo' to more closely resemble the aesthetics of older films. I remember listening to a podcast that had its hosts railing against the use of that, while another podcast, at the same time, praised the look of the film. Clearly, it's all subjective anyway. ;-)
We're also looking at that new screengrab on an all-white forum page; when we see it in the cinema our eyes won't be able to detect the colour difference as starkly.
What did you dislike about Mission Impossible? I can't really think of anything unique about that film's look apart from some dutch angles and De Palma's usual split diopter stuff.
Oh, er, okay.
The film looked too "bleak" for me, for a M:I film that is. And you're right, it's not so different from other De Palma films (which I usually enjoy.) Hence my very controversial opinion that De Palma was not the proper choice for this film. In fact, his M:I is at the bottom of my M:I ranking, along with its sequel. Again: controversial, I know.
I’ve heard people call Avengers (2012) a TV movie. They’re right it does look like one, in more ways than one. Normally, MCU movies don’t look like TV movies.
Interesting, not really thought of it that way. Fair enough.
Agreed. It was the first movie in their defense though.
I lot of that comes down to the vibe they were going for. It has a lovely Cold War-esque to a lot of it, for my money. Especially the scenes in Prague.
Agreed. My issue with the film comes from an unfair comparison with the later ones.
Yeah, I love the chilly Euro thriller feel it has. If anything, there's an argument to say it perhaps dresses itself in the clothes of being an Eastern European spy thriller whilst actually being a big blockbuster which is a bit disingenuous, but well, darn it, I like those clothes :)
It’s the flat lighting. Movies can tell a story by how light and shadow interplay with an actor’s face. Marvel movies usually have none of that. Just a neutral, gray, foggy look all around every movie. It’s boring.
Already Papamichael's work on Indy 5 looks way better than that; and I thought Ford vs Ferrari looked gorgeous.
So any 'leak' that says she's called Helena Brody: that'll be a lie.