Cilogy wrote:Armandhammer wrote:
But every film needs that ... sense of real danger
I just didn’t find the stakes/scale of the movie high enough
Every film? Well why can't a film be about just solving a puzzle or figuring something out?
There are senses of danger in Memento and Inception, yet both movies are more like puzzles for the audience. Danger might not necessarily have been the driving factor in these movies, but a mental challenge or story-based question for the viewer can be.
I don't understand why people are so hellbent on sensationalism in movies nowadays. I mean yes it's really fun, we could use an
Avatar or
Transformers 2 once in a while, but "smart" movies would like to get a piece of the pie as well.
Again, I’m going to have to disagree. The driving force behind all movies, including Nolan’s, is that “real” sense of danger. Like I said:
Memento = false sense that protagonist will confront murderer/murderer will strike again/murderer is hunting him (climax).
Insomnia = murderer
The Prestige = Two magicians wanting to reach unfathomable heights risking everything/leaves audience guessing which is going to succeed
Batman Begins = Ghul
The Dark Knight = Joker
Yes, smart films are most welcome. But without this real sense of danger, why would any audience member want to watch someone solve a puzzle without any stakes? It’s like showing Batman working in the lab for 2 hours without him confronting the Joker for example.
Keep it puzzling at mind bending, of course, but give the audience that sense if Cobb fails, then the whole team will be trapped in Limbo etc…
Again, Limbo being explored plus the fact that Cobb blurted out loud that “Okay, so the mission is over” didn’t help the intensity level at all.
The points in the article (some of them) have extremely well written points.
Have the projections ignore gunfire/manipulate the world around them. Have another team of extractors racing to intercept Cobb and his team … etc
