Vader182 wrote:Saw the Dunkirk Prologue in IMAX Laser 1.43 last night.

Note: It was smack dab right in the middle of like 20 minutes of previews, so that was jarring.

Holy shit was this great. The editing, pace, and intensity clarified the whole movie's shape and style for me in a way that accelerated my excitement a hundredfold. And I thought the Dunkirk trailer was trash. We start in medias res and the editing is so tight and so smart and gives you a dynamic sense of geography and mometum and speed. Zimmer's ticking score supplements that feeling, but it also feels distinctly human in how he builds Hitchcockian suspense around how individuals,, people, are responding and reacting to the terrifying stimuli around them. While the prologue does have "action" and it's innovative and brings the techniques he's been playing with in TDKR and Interstellar full circle in a really exciting way (if this is just the prologue, imagine what he has in store for the rest of the movie), the crux of the prologue's intensity is just dudes trying to complete basic tasks in a war zone and the innate horror they confront in that situation. It's smart, and draws us in empathetically. That's important to note, because it's essentially NEW for Nolan in that us often has plot/spectacle drive momentum and tension. Here it's reversed, and foiled by the action.

I'm really intrigued by the overall structure of the movie in I wonder if it's going to be two hours + of this rhythm, sort of a Mad Max style of pacing in that it's constant with slight peaks and valleys in how tightly wound the pace is but it's always going forward. The ticking score alone implies this will be the case, as do Rylance's comments. ALSO: Like the trailer does (sorta), the prologue really sells this as an ensamble piece. Whether that continues to be true or not of course remains to be seen. Last thought: the prologue, for those who haven't seen it, is not self enclosed like TDK/TDKR. It appears to be a (possibly ccondensed) version of the first five minutes fo the movie that cuts mid-scene, but it's building up multiple plot lines that are cleverly hard-stopped at the moment for peak suspense from now into July.

Why the trailer is butchered garbage I don't know, but for me, my friends who saw it with me, and most of all for the mass audience who, my sold out theater freaked the fuck out during it, Dunkirk's prologue is a promise of greatness to come with a unique voice and style in the WWII that really sells the "Epic Action Thriller" premise.

HYPED.


-Vader

Pratham wrote:Wait, you peeps are asking for bootlegged trailer and watch it on your computer/phone?

Vader182 wrote:Saw the Dunkirk Prologue in IMAX Laser 1.43 last night.

Note: It was smack dab right in the middle of like 20 minutes of previews, so that was jarring.

Holy shit was this great. The editing, pace, and intensity clarified the whole movie's shape and style for me in a way that accelerated my excitement a hundredfold. And I thought the Dunkirk trailer was trash. We start in medias res and the editing is so tight and so smart and gives you a dynamic sense of geography and mometum and speed. Zimmer's ticking score supplements that feeling, but it also feels distinctly human in how he builds Hitchcockian suspense around how individuals,, people, are responding and reacting to the terrifying stimuli around them. While the prologue does have "action" and it's innovative and brings the techniques he's been playing with in TDKR and Interstellar full circle in a really exciting way (if this is just the prologue, imagine what he has in store for the rest of the movie), the crux of the prologue's intensity is just dudes trying to complete basic tasks in a war zone and the innate horror they confront in that situation. It's smart, and draws us in empathetically. That's important to note, because it's essentially NEW for Nolan in that us often has plot/spectacle drive momentum and tension. Here it's reversed, and foiled by the action.

I'm really intrigued by the overall structure of the movie in I wonder if it's going to be two hours + of this rhythm, sort of a Mad Max style of pacing in that it's constant with slight peaks and valleys in how tightly wound the pace is but it's always going forward. The ticking score alone implies this will be the case, as do Rylance's comments. ALSO: Like the trailer does (sorta), the prologue really sells this as an ensamble piece. Whether that continues to be true or not of course remains to be seen. Last thought: the prologue, for those who haven't seen it, is not self enclosed like TDK/TDKR. It appears to be a (possibly ccondensed) version of the first five minutes fo the movie that cuts mid-scene, but it's building up multiple plot lines that are cleverly hard-stopped at the moment for peak suspense from now into July. So this is a glimpse into a seemingly much longer sequence.

Why the trailer is butchered garbage I don't know, but for me, my friends who saw it with me, and most of all for the mass audience who, my sold out theater freaked the fuck out during it, Dunkirk's prologue is a promise of greatness to come with a unique voice and style in the WWII that really sells the "Epic Action Thriller" premise.

HYPED.


-Vader

Bacon wrote:People need to stop asking for PMs before we even have a bootleg out. That's crazy.

Bacon wrote:People need to stop asking for PMs before we even have a bootleg out. That's crazy.

Nomis wrote:I think Willem also goes to Arena. Again, I really think they only start showing it when the US screens it as well. Like antovolk said. It makes sense.