There are some movies that hit you, so hard that it leaves an impression so deep that it messes with the way you look at the world.
At least, that's how it is for me.
There's no way on Earth FEARLESS could be a One. From the soundtrack alone, in the midst of darkness, to the strategically placed title shot, it sucks you into the intrigue before you even have the slightest chance of pulling yourself away.
Twos are for broken movies, and this film is, by no measure of the imagination, a Two. From the first moment you see Jeff Bridges in the film, combined with the horrifying setting of the fallen plane, you are, as long as you aren't texting your girlfriend or stuck in a hospital room, catatonic, in for a RIDE.
This movie SEEKS out its potential, and finds it in beautiful, amazing ways I'd never considered before I saw this film. I even remember when I bought it--a VHS copy in a bin for the soon-to-be-defunct Video Department of the grocery store I used to work for. Something called to me about this film. And I answered the call. So it's not a Three.
This film is, by and large, a bullet-train ride, if you follow the construct being developed here. You get the sense of who Max Klein was BEFORE the plane crash, but not because you see him. You get a feeling of who he was BECAUSE of how distant Jeff's acting is with respect to it--you get the idea of who Max was, while you're learning who he IS, now. I can't think of anything else like it in film. So it's not a Four.
Or a Five. There's no way you could look at this film and its parts and be like, "Meh." Unless you are heavily sedated.
It can't be a Six, because nobody pulls their punches here. Rosie Perez's Carla is the best performance she's ever done, hands down. Isabella Rosaline does what SHE does best, here. Tom Hulce, playing the lawyer, even adds HIS chips to the pot. I could go on and on.
No way it's a Seven. The theme of the film flows like a raging river with the characters swept up in it. And the beauty, both in the shots and in the concept, are magnificent.
It's better than Eight. Considering the plot, the actors, the drive, the shots, the meaning, you'd have to be asleep to not be caught up in the visual feast in front of your eyes.
I'll save you the suspense... this movie is a perfect Ten. It doesn't matter what you want to pick apart, it doesn't matter what plot-holes you might discover in the film (I'm not interested). This is a movie about the human condition, and it's something that Peter Weir does in all of his films. It is a magnificent opus about life, death, and everything in-between.
If you haven't seen it, you NEED to see this film.
At least, that's how it is for me.
There's no way on Earth FEARLESS could be a One. From the soundtrack alone, in the midst of darkness, to the strategically placed title shot, it sucks you into the intrigue before you even have the slightest chance of pulling yourself away.
Twos are for broken movies, and this film is, by no measure of the imagination, a Two. From the first moment you see Jeff Bridges in the film, combined with the horrifying setting of the fallen plane, you are, as long as you aren't texting your girlfriend or stuck in a hospital room, catatonic, in for a RIDE.
This movie SEEKS out its potential, and finds it in beautiful, amazing ways I'd never considered before I saw this film. I even remember when I bought it--a VHS copy in a bin for the soon-to-be-defunct Video Department of the grocery store I used to work for. Something called to me about this film. And I answered the call. So it's not a Three.
This film is, by and large, a bullet-train ride, if you follow the construct being developed here. You get the sense of who Max Klein was BEFORE the plane crash, but not because you see him. You get a feeling of who he was BECAUSE of how distant Jeff's acting is with respect to it--you get the idea of who Max was, while you're learning who he IS, now. I can't think of anything else like it in film. So it's not a Four.
Or a Five. There's no way you could look at this film and its parts and be like, "Meh." Unless you are heavily sedated.
It can't be a Six, because nobody pulls their punches here. Rosie Perez's Carla is the best performance she's ever done, hands down. Isabella Rosaline does what SHE does best, here. Tom Hulce, playing the lawyer, even adds HIS chips to the pot. I could go on and on.
No way it's a Seven. The theme of the film flows like a raging river with the characters swept up in it. And the beauty, both in the shots and in the concept, are magnificent.
It's better than Eight. Considering the plot, the actors, the drive, the shots, the meaning, you'd have to be asleep to not be caught up in the visual feast in front of your eyes.
I'll save you the suspense... this movie is a perfect Ten. It doesn't matter what you want to pick apart, it doesn't matter what plot-holes you might discover in the film (I'm not interested). This is a movie about the human condition, and it's something that Peter Weir does in all of his films. It is a magnificent opus about life, death, and everything in-between.
If you haven't seen it, you NEED to see this film.