pexu
Joined Jun 2002
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Reviews13
pexu's rating
Sinners has a script that likely flows smoothly and effortlessly on paper. However, paper is a medium that leaves its reader free to feel to bridge any gaps that the story might have and the most importantly requires effort to imagine all scenes, characters and the interaction between these. So, if the story is interesting, the pacing is just something that happens naturally.
However, while the take on the story is certainly not boring, the pacing seems oddly quite off. It is not about adding a constant source of action, but as sets are already decorated and the cast is dressed up that makes the imagination sit idle. Mind begins wandering when a lengthy backdrop is being created. Again, something that works very well with books where the author can spill adjectives and colorize even the tiniest detail with clever language, but not so much on the large screen.
A lot from the first half could have been left on the cutting room floor, stored on some vast bit space left to used as B roll on future projects. Not only the pacing, but some of the story arches are perplexing as well. New ideas are presented and introduced that then go to a large degree completely unused and are therefore effectively wasted. As if there was a moment of bright idea, a scene was planned and captured, cut into the final version just to be never ever touched again. Almost as if going over a bucket list and coming to a realization, that the desire to do something was the thrill, not the activity itself, and thus crossing it over using a heavy handed stroke once and for all.
That is shame, as using the standard production values, cast et. Al as the reference there is not much bad to say. When the end is closing in, the film transforms into the thing it should have been from the very beginning. The very last minutes are the best, but at that point the opportunity has gone and is past due.
All is not lost, though, as with a supply of popcorn that is to last the entire runtime the experience should be much better. If no snacks are available, it might the best let this movie wait in the dark corner. This is ultimately an entry on which time and age do no much, if any, damage.
However, while the take on the story is certainly not boring, the pacing seems oddly quite off. It is not about adding a constant source of action, but as sets are already decorated and the cast is dressed up that makes the imagination sit idle. Mind begins wandering when a lengthy backdrop is being created. Again, something that works very well with books where the author can spill adjectives and colorize even the tiniest detail with clever language, but not so much on the large screen.
A lot from the first half could have been left on the cutting room floor, stored on some vast bit space left to used as B roll on future projects. Not only the pacing, but some of the story arches are perplexing as well. New ideas are presented and introduced that then go to a large degree completely unused and are therefore effectively wasted. As if there was a moment of bright idea, a scene was planned and captured, cut into the final version just to be never ever touched again. Almost as if going over a bucket list and coming to a realization, that the desire to do something was the thrill, not the activity itself, and thus crossing it over using a heavy handed stroke once and for all.
That is shame, as using the standard production values, cast et. Al as the reference there is not much bad to say. When the end is closing in, the film transforms into the thing it should have been from the very beginning. The very last minutes are the best, but at that point the opportunity has gone and is past due.
All is not lost, though, as with a supply of popcorn that is to last the entire runtime the experience should be much better. If no snacks are available, it might the best let this movie wait in the dark corner. This is ultimately an entry on which time and age do no much, if any, damage.
Kalak is not for a casual viewer and provides a diesel locomotive type treatment. Once you lock in keys and levers, system needs to build up the pressure. Only then will one be able to start the main engine. That is just the brief version. There are the switches to flip, turnkeys to hold, systems to program. All part of the course, expected, but the fine details always implementation specific.
While the locomotive offers the heavy lifting, it comes with its downsides. It is not a ride for thrills, a fun roller coaster, that one hops in but a machine that is expected to endure harsh conditions and constant punishment.
The plot and the essence of this movie is so well abbreviated in the summary, that repeating it here is no use.
Like older locomotives, this one also pushes out heavy black smoke when cylinders start compressing, but the engine is yet too cold to run by its own power. The movie attempts shock its audience, score and scuff, but in the modern world that is nothing new. It provides no value. It adds nothing. Even if the movie would be set in an alternative universe where there is no filth, the viewer has not yet immersed into it.
If diesel oils are toxic, so are the depicted characters. The tone is very depressing and one has to ask, why make such a movie? Is this what the cinema is supposed to be, a cocktail of abuse and misuse? The canvas could have been painted with anything. This is also reflected by the camera as well. Set in a scenic and remote place, yet, most of the shots happen inside confined spaces. Walls erected by the man and the sun replaced by florescent lamps filled with poisonous mercury vapor.
(Some nice Scandinavian furniture is present, though, so perhaps that is the glimmering hope.)
Once the circle is complete, there have been mostly actions with little consequences. The same patterns repeated, forgiven by others, all done by expecting (hoping) for an alternative result. But as long there is fuel and enough momentum left for the piston to compress the fuel-air mixture, it ignites and the diesel cycle repeats itself, unchanged.
Unless some force breaks down the engine or some of its components, of course.
While the locomotive offers the heavy lifting, it comes with its downsides. It is not a ride for thrills, a fun roller coaster, that one hops in but a machine that is expected to endure harsh conditions and constant punishment.
The plot and the essence of this movie is so well abbreviated in the summary, that repeating it here is no use.
Like older locomotives, this one also pushes out heavy black smoke when cylinders start compressing, but the engine is yet too cold to run by its own power. The movie attempts shock its audience, score and scuff, but in the modern world that is nothing new. It provides no value. It adds nothing. Even if the movie would be set in an alternative universe where there is no filth, the viewer has not yet immersed into it.
If diesel oils are toxic, so are the depicted characters. The tone is very depressing and one has to ask, why make such a movie? Is this what the cinema is supposed to be, a cocktail of abuse and misuse? The canvas could have been painted with anything. This is also reflected by the camera as well. Set in a scenic and remote place, yet, most of the shots happen inside confined spaces. Walls erected by the man and the sun replaced by florescent lamps filled with poisonous mercury vapor.
(Some nice Scandinavian furniture is present, though, so perhaps that is the glimmering hope.)
Once the circle is complete, there have been mostly actions with little consequences. The same patterns repeated, forgiven by others, all done by expecting (hoping) for an alternative result. But as long there is fuel and enough momentum left for the piston to compress the fuel-air mixture, it ignites and the diesel cycle repeats itself, unchanged.
Unless some force breaks down the engine or some of its components, of course.
A pleasant time capsule for those who still recall late 80s and early 90s. Story wise, unless one is familiar with the band and has seen more than a plenty of movies about touring bands, this will offer very a clichéd story.
That is not to say, that writing would have been lazy, quite the contrary. However, the emotional attachment must have been done prior going to see out this movie. Once that has been established - and for the target audience that is very likely the case - story flows effortlessly.
This is not a documentary or fan service (or any mock up of those types) and thus one does not need to be, or have been, a hardcore fan to enjoy this. There is actually surprisingly very little of the actual musical content, albeit the soundtrack has several titles and there are next to no other contemporary artists.
Production quality is high and captures the feeling from the now bygone era very well. Also, archive footage is very seamlessly integrated (which of course means, that it likely has been a difficult task to accomplish), which really highlights both the good casting and high level of film making know-how. A keen eyed viewer will be able be spot a few items that have done a bit time traveling but that is really more a funny gimmick than a blame. Perhaps a spotting game for those not so interested in the subject itself.
While the artistic choice of non-widescreen aspect ratio might seemingly make this a target candidate for home screens, it likely works best on a proper large movie theater screen (or an 4:3 CRT from the period, which likely is a rare find these days). Regardless of the viewing choice, this film does not cause claustrophobia which seems to be typical issue with this kind of smaller productions, where financial matters define the size of the sets.
Overall, not a bad quick watch for anyone who has some background knowledge and recognizes the songs, at least the most popular ones.
That is not to say, that writing would have been lazy, quite the contrary. However, the emotional attachment must have been done prior going to see out this movie. Once that has been established - and for the target audience that is very likely the case - story flows effortlessly.
This is not a documentary or fan service (or any mock up of those types) and thus one does not need to be, or have been, a hardcore fan to enjoy this. There is actually surprisingly very little of the actual musical content, albeit the soundtrack has several titles and there are next to no other contemporary artists.
Production quality is high and captures the feeling from the now bygone era very well. Also, archive footage is very seamlessly integrated (which of course means, that it likely has been a difficult task to accomplish), which really highlights both the good casting and high level of film making know-how. A keen eyed viewer will be able be spot a few items that have done a bit time traveling but that is really more a funny gimmick than a blame. Perhaps a spotting game for those not so interested in the subject itself.
While the artistic choice of non-widescreen aspect ratio might seemingly make this a target candidate for home screens, it likely works best on a proper large movie theater screen (or an 4:3 CRT from the period, which likely is a rare find these days). Regardless of the viewing choice, this film does not cause claustrophobia which seems to be typical issue with this kind of smaller productions, where financial matters define the size of the sets.
Overall, not a bad quick watch for anyone who has some background knowledge and recognizes the songs, at least the most popular ones.