critics and the media are always obsessed with novelty. if it doesn't bring something new to the table, then the hell with it. with this attitude, films like "fear x" fall by the wayside, but i'd like to speak in its favor.
if you're going to copy someone, copy the best. this movie is told using a vocabulary pioneered by other directors, namely david lynch and particularly stanley kubrick. this leads many to dismiss it as unoriginal.
while it may not invent a cinematic language all its own, i think it certainly uses some existing techniques to great effect. the resonant emptiness and dread of the overlook hotel from "the shining" is adeptly echoed here in mall parking lots, empty houses and hotel rooms. lynch's knack for making everyday american trappings foreign and scary is taken for a spin, and even an inexplicable trip/voyage sequence a-la kubrick's "2001" turns up.
fantastic camerawork by kubrick veteran larry smith and amazing sound design by the master of ambient noise, brian eno, make for an unusually polished cinematic experience.
the story line is admittedly a bit weak for all the cinematic devices around it, but with a movie this enjoyable and consistently intriguing, who cares?
if you're going to copy someone, copy the best. this movie is told using a vocabulary pioneered by other directors, namely david lynch and particularly stanley kubrick. this leads many to dismiss it as unoriginal.
while it may not invent a cinematic language all its own, i think it certainly uses some existing techniques to great effect. the resonant emptiness and dread of the overlook hotel from "the shining" is adeptly echoed here in mall parking lots, empty houses and hotel rooms. lynch's knack for making everyday american trappings foreign and scary is taken for a spin, and even an inexplicable trip/voyage sequence a-la kubrick's "2001" turns up.
fantastic camerawork by kubrick veteran larry smith and amazing sound design by the master of ambient noise, brian eno, make for an unusually polished cinematic experience.
the story line is admittedly a bit weak for all the cinematic devices around it, but with a movie this enjoyable and consistently intriguing, who cares?