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Movies! (Violence For Money Edition)

Ghost in the Shell: The New Movie: I keep stumbling upon new-to-me Ghost in the Shell material. There are perfectly reasonable explanations for this, but I choose to believe it's due to a side effect of the virus lodged in the e-brain the virus is designed to keep me from knowing I have. I also choose to believe the Ghost in the Shell memeplex is the slowly complexifying digital incarnation of an asymptotic attractor in techno-psychological phase space. Motoko Aramaki doesn't need to be real, in any sense, in order to engineer herself into existing; she is inevitable.

About the movie itself: a competent, enjoyable episode during the Major's time between Unit 501 and Section 9. I very much like how she set her unit on her own — it's *her* private army, and will remain so even after it nominally gets to work for Aramaki. It makes her post-Puppeteer an even smoother continuation of her usual MO.

Line Walker: Hong Kong thriller movie that follows up a TV series of the same name I'm currently wondering if I'm too spoiled for to watch. Like many of its type, it's basically it's own AO3 section. I enjoyed it.

John Wick: A rewatch. I fast-forwarded past the dog thing. The movie's not as spare as I remembered it (you mostly remember the gun kata, of course), but not without some other touches of inspiration. The way the revenge is motivated is sheer genius — revenge for the death of, say, her spouse, would've have been the same. Marcus' character played a larger role than I remembered (his relationship with John is one of the deliberately unexplored but load-bearing aspects of the world), and Viggo's attempts to deal with the whole thing don't lack reasonableness and a certain level of pathos. Part of you can't but sympathize with the guy.

Whatever range might Reeves' acting skills span, this movie lives right in the middle of it.

All in all, I understand why they chose to explore the world of The Continental to a larger degree in the sequel, but it cost the movie some of its forward movement. In anything, the first movie had slightly too much backstory, even if it was much less than usual. A John Wick we don't learn much about because the surviving people who know would rather not remember, much less speak of it, is much more interesting. Plot-wise, John Wick 2 was a step backwards, IMHO, as much as I love the enormous, steampunky, historical AU potential of The Continental's back-office.

I mean, having met and fought the original Assassins, the Templars couldn't avoid being intrigued by the business model... The gold coin thing is probably an historical artifact, and — and this is the part I love the most — how would an order originally dedicated to protecting and hosting travelers base itself in the contemporary world but as a chain of high-end luxury hotels, catering particularly to the profession?

In short: some of the Templars back from the Middle East decided assassination as a service was going to be the second most popular cultural import after putting spices on everything, so they cornered the market of supporting functions.

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