I Am Twenty is one of those films. It was made during the de-Stalinization period, otherwise known as the Krushchev thaw where people had a short period of freedom of speech, which Hutsiev, the film's director utilized in making of this film, where the story centers on three friends in their 20's going through a sort of a quarter-life crisis in the Soviet Union, worrying about such things as where to live, means of getting money, and exactly what to do with their lives - which at the time was unheard of - one of the reasons for which Krushchev condemned this film during the end of the thaw (when it was being released) and most certainly which contributed to this film's censorship.
This undoubtedly is the kind of film that speaks the universal language, which I hope would be an intriguing watch for people who can track this film down and watch it (there are English subtitles for it, I checked)
Shot beautifully, flows poetically, and definitely leaves a mark.
I loved it [07-22-2011, 08:23 PM]
I personally do not feel the need to dissect or even talk about this film, as it is completely useless. Those who have seen the trailer, or know his past work need not to read others' thoughts on his films in order to go see them. If one feels repulsed or feels Malick is pretentious, you already know what to do. Just not watch it.
[06-23-2011, 11:58 AM]
It is absolutely amazing to me the subject of the mind. The theme of the BASIC NEED for human companionship is extremely well represented here. Serling was a master "psychologist" if you will, in that he understood the human condition very well - at least this is the evidence I got out of the majority of the episodes he has written. If you think about this episode on a grand scale, you'll notice just how many of us can GET and DO get depressed because of the lack of human interaction. We are social animals in our nature, and that "basic human need" of companionship is of vital importance.
I think that this was Serling's hour. This is one of the best, hard hitting, and most importantly; most relevant "moral lessons" that came out of the Twilight Zone.
This is without a doubt one of the best of the Twilight Zone. I can say this without having seen them all, although I will eventually as I am on my quest. However, it does not take one to see the entire series run to see which episode reeks of quality. It has just about everything that made classic black and white horror/science fiction cinema great.
The music, the classic cinematography, mystery, all enveloped in trademark horror atmosphere.
One of the best things I've always loved about The Twilight Zone, and in fact what piqued my interested in the series; is that they always have something to say about society, or man in general. This episode touches upon a few various character traits, but the most obvious one is left for the finale. One which I will not reveal for the sake of not spoiling the experience.
A memorable entry, one that I'm sure will be appreciated by newer viewers.
And Got Some I did. A comedy that is not Apatow's is refreshing nowadays. A relentless hard R comedy that fuses elements of practically every famous war film ever made. Beginning with trailers a la Grindhouse for every major character was already a sign of a hilarious film. While most of the humor was "funny-but-i'm-not-laughing" the same amount of laugh out loud humor and gags was provided as well, courtesy of mostly Stiller and Downey Jr. Who I wholeheartedly feel - stole the show. I can't say I've ever seen any character like his in a film of this genre, which already I feel will enter the classics. What's refreshing about Thunder is that it's actually original in certain aspects of the storyline; such as when they decide to shoot the film guerilla style in the jungle only to have the director of the film....- I'll leave this at that. A spoof of war films that isn't tireless or idiotic like the recent Epic/Date films... which do not even deserve to be called "spoofs". And be prepared for Cruise, who plays the most radical role of his entire career.
The ending scene is quite possibly one best one-on-one conversations ever written and directed. As if throughout the film Kurosawa hasn't delved deep into the human condition with Gondo's character (Mifune) and his moral dilemma, here he goes much, much deeper. A pivotal scene that serves as the focal point of the film, and its' title.
The film's beautiful imagery and deep, thought-provoking material is what drives this film forward.
I think this version has what the first lacked, but it lacks what the first had. You could probably combine the two films in a great manner which would result in the ultimate Hulk film. I smell a fan-edit.
Wahlberg is a capable actor, but he's a parody here and he isn't alone. Maybe this is Shyamalan's fault, allowing this from his actors, or his overall direction of actors.
The "shocking" moments, are not all that shocking either. However, Shyamalan's utilization of the landscape is effective, and in my mind the 'greatest' suspense occurred during the very end of the film, which felt less comical and more hard-hitting.
All comedy aside, thinking back on this film, there is certainly a deeper layer that underlies the film. The closest comparison I could think of is The Mist.
"Do you know what we do with pieces of sh*t like you in Marseille?" Hard to take the French mob seriously especially when you think of a city like Marseille
Argento's half ain't bad either. Nudity and visual trademarks are present. Thought Keitel's character wearing a beret alone was dumb, but at least that was something to laugh at. It had an unnecessary scene involving medieval times which added nothing. The third act turned into a parody of some kind, not to mention the kid that comes in for a session with the trimmed sleeves "he's lying, lying!" Retarded ending, but funny.