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I think that the plight of the other characters is as important. but i also think that there are certain moments in the drama, which you think, i almost wish the drama was about the other characters and not about them, although it s a terrible thing to fall into. i don t want the film to be about that, i want it to be about that. i think it s well done. i don t think it s earth shattering, but it s handsomely mounted and very sparse use of score, leaving lots of spaces in that there s lots of moments of silence within the drama in which it s almost as if the film is inviting you to fill in the space. but, you know, an intriguing piece of work, if not earth shattering. yes, absolutely. it holds your attention. i had a bit of a problem with the central conceit that he would agree to drive off with the boy s father and go out into the desert with people you don t know. which is the thing upon which the whole thing pivots. yes! 0k. well, look, let s move on to three thousand years of lo ....
I did like that scene. you see, i think, weirdly, i mean, i ve seen the film a couple of times now. i think that scene kind of encapsulates what i really like about this film. i mean, there s a lot of things going on and it sjumbling past and present memory, you know, what, you know, perceived reality, all that sort of stuff. but at the heart of it is this relationship between two characters who are distanced and yet stuck in the car together. i think the way in which she says, who did you think it was going to be fun for? for you or for me? he s full of obscure rock trivia. she says, all you ve got is anecdotes from the past and niche rock trivia. and he s trying to kind of make a connection, but you get the sense that he spent his life running away from his responsibilities. yes. also, if, as i have, you know, you re somebody who has travelled the a30 to cornwall, there is a beautiful use of clumps of trees which are known locally. ....
Who is a british scholar, a very well to do british scholar who studies narrative, the origins of stories and myths. she s travelling the world. she buys a vase. out of the vase comes a genie played by idris elba, who grants her three wishes. well, she understands how narrative works. she knows that granting three wishes, it s usually a kind of it s a cautionary tale don t take the wishes. you know how that works out. this is an oddly baffling film. i really like tilda swinton. i really like idris elba. the problem with this is a lot of the time with the special effects the special effects are very, very cgi heavy. it felt like i should be reading this as a story. i should maybe be listening to it as a radio play or as an audiobook, but sometimes looking at it kind of makes the magic too literal and, therefore, ironically takes the magic out of it. i mean, it s ambitious and it has some interesting ideas, but it s a mess. and it kind of reminded me of there s a film called what d ....
If it s absolutely necessary. david. and in that phrase, if it s absolutely necessary, is kind of the nub of it. we re told the boy is he s a nobody. he s a villager from far away. no one knows who he is, but of course he isn t. he has a father who then arrives at the villa and says, you must pay reparations by travelling with me to my home to bury the boy. ralph fiennes s character says, we re not going with him. i don t know who he is. you know, maybe they want money or maybe worse. but then the film kind of bifurcates between, on the one hand, the villa where all this debauched revelry is going on, and on the other hand, the journey of his character. this is directed by john michael mcdonagh. i think it has very good performances, not least by ismael kanater, who plays the father of the boy driss, ....
And the central subject of it is, aren t these ghastly white people ghastly? and the answer is, yes, they are. and, therefore, the challenge of the story is can you make what happens to them interesting? were you gripped by it? i was gripped and quite tense and i think it s very well acted, but there s a lot of characters in it who are really unpleasant. and i think it takes us back to. i often have this debate with any work of art, a book or a play or anything. if everyone is unlikable, you can reach a point where you think, 0h, do i really care? i mean, you care about the little boy, but all the characters in this gorgeous, sumptuous moroccan palace having a big party for the weekend are really unpleasant people. yes, and very hard company. i think that one of the triumphs of the film is that it doesn t. you don t need to sympathise with them. i think that the plight of the other characters is as important. but i also think that there are certain moments in the drama, which you thi ....