hmsgroop
Joined Mar 2000
Welcome to the new profile
We're still working on updating some profile features. To see the badges, ratings breakdowns, and polls for this profile, please go to the previous version.
Ratings1.4K
hmsgroop's rating
Reviews52
hmsgroop's rating
Much has already been said by other viewers about the relationship of the characters in the movie. Viewers have rightly noted that the characters live in a world of chaos when everything seems to be falling apart: the everyday comfortable world, the family ties, the rules and inhibitions. But such circumstances bring out in people what they really are. People set aside social convention and struggle for survival, need of love, protection, in a desperate search for something to hold on to in this world. They build a small fragile world of their own, which may seem pretty strange, but the only one working at the moment. They form the most sincere primeval bonds, and these bonds shatter one day when the outer world reminds the isolated group of survivors (noble savages) of itself. Yvan gets caught, and the truth about his past becomes known, and it suddenly matters. Odile and the children betray Yvan, failing to claim him as one of their own, flinching from his identity and background. I think that that is the ultimate reason for Yvan's suicide: he can't stand this abrupt end to the only spell of happy life he must have known, he can't survive this betrayal. And the betrayal backfires on Odile and the children: their life in the refugee camp also debases them, the outer filth of the camp and thelack of freedom they used to enjoy in that forgotten country house is the price they pay for their cowardice and indecision at the most crucial moment. One white lie, making it possible for Yvan to gain time, to escape, and everything could have been different. I think they slowly start to learn their lesson, but the price paid for this lesson is too high, and the bitterest thing is that it's not they who pay it.
So much ado in the world mass media about "Eclipse"! And - much ado about nothing.
"Summit Entertainment", please call back either Catherine Hardwicke or at least Chris Weitz! The franchise is getting from bad to worse. You're in danger of losing millions of viewers for "Breaking Dawn" if the trend begun by David Slade continues! If you don't care about quality movies, care at least about your profits. "Eclipse" is a cheap hack-work whose only aim is to make some easy money. It won't work twice.
David Slade has done the impossible - he managed to butcher the "Eclipse" novel altogether! Instead of the most dynamic book of the saga, which – though possessing no literary qualities of big literature - is at least a page-turner, he produced an incredibly cheesy hash-dish of disconnected episodes, none of which is charged and coherent enough for the viewer to evaluate its meaning for the plot and character development. The film has no magic of Catherine Hardwicke's "Twilight" which concentrated on the phenomenon of first love with all shades of emotion, its tenderness and blunders. The colour gamut of "Twilight", the dialogues, the motivation of the characters, the pacing varying from slow to lightning speed – everything was there to contribute to the magic. Chris Weitz, on the other hand, concentrated on the character of Jacob and on the film gathering momentum in the very end, when Bella goes to Italy. This break from the slow pacing of the time tedious for Bella to break-neck speed of the Italian part does the film credit. Though in comparison with "Twilight", Chris Weitz almost botches up Edward's character to save it at the last moment in the episode with the Volturi, both films have an atmosphere of their own. Not so the "Eclipse".
Slade and Rosenberg seem to have been intensely hating the book while filming it. How otherwise could they have created this this product (euphemism)? No coherent and consistent dialogue, no dialogue meaningful enough to give the actors at least SOME room for displaying their acting skills, no character motivation, no chemistry between the characters. The flashbacks with Rosalie and Jasper held some promise, but no, David Slade was very consistent in destroying their appeal, too. Both the stories lack some essential parts absolutely necessary for understanding the characters. On the whole, all the actors have to mumble through some nonsense lines which have to pass for dialogue. ALL of them seem to be there just because the franchise must plod on. Edward's repeated bleating about Bella marrying him obviously gets even on his own nerves. Action? Don't make my cat laugh. If this tiny part of vampires' training and a tiny fragment of real fighting lacking any gusto can be called action, then I'll eat my hat. I bet people expected much more than that bit of morning exercise, waving hands and raising legs. The only credits in this field go to Jasper and Emmett.
Acting? Godawful. It seems the main characters are suffering from various diseases and need medication real quick.
Edward is hanging about with the facial expression of one having chronic dyspepsia. It seems that each and every Bella's appearance on the set is nauseating for him and he's manly fighting this emotion to conceal it. Motilium and sickness medications, quick! It's not a progress in acting, but a step back. Edward was best in "Twilight", in "New Moon" it was slow deterioration, now it's a catastrophe. Edward must be changing, but - so? Edward seems to be turning into a willing slave of Bella and effacing himself completely. It's obvious that, on the one hand, the actor was left with no choices of his own and with not much of a role to play, on the other hand, he's tired of the franchise whatever he may be saying in public (and anyone would be tired of this film 'very DIFFERENT from the previous two'). By the way, we should do Mr. Pattinson credit, for he's honest – he said that he feared nobody would come to see the film. He has definitely seen the pre-release copy. Next time I'll be more attentive to the messages he sends.
Bella. She's lost all the appeal of a young inexperienced girl caring for everybody, eager not to hurt, to bring together, a heart bleeding for everyone. Now we see an egoistic scheming wench not caring a fig about anybody, her only aim, as we learn in the end, was to sift through her motives and to make the RIGHT choice, and that's becoming a vampire, love is secondary here. Is she doing it for her shrink? Next time fetch your pocket calculator to draw up the balance, Bella. Bella's attempt to seduce Edward looks nauseating, so pre-planned it is. Where's love, where's sincerity, where's youthful impetuousness? Gone to the dogs. On the whole, judging by Bella's facial expression it's evident that the girl was dropped head down more than once in her infancy and now has difficulty comprehending what is being said around her. Acetazolamide may have helped, had it been taken earlier. Bella's also obviously a mouth-breather. Remove your adenoids, Bells. Before it's too late and you're too far gone.
Jacob. No progress in comparison with "New Moon", too few and too bad lines given, too little screen time.
Victoria. Rachelle Lefevre was voluptuous, lascivious, dangerous. Bryce Dallas Howard is emaciated, pitiful, heavily painted and timid. She can't touch Rachelle Lefevre. A very bad choice. The wig alone doesn't make the character. A bad mistake of "Summit".
Was there ANYTHING good? My thumbs up to Jasper, Alice, Emmett, Carlisle, Charlie, Riley (though Riley's part could have been made more dramatic and consistent, but not with the current wonder script, alas). Oh, yes, the landscapes were impressive.
"Summit Entertainment", please call back either Catherine Hardwicke or at least Chris Weitz! The franchise is getting from bad to worse. You're in danger of losing millions of viewers for "Breaking Dawn" if the trend begun by David Slade continues! If you don't care about quality movies, care at least about your profits. "Eclipse" is a cheap hack-work whose only aim is to make some easy money. It won't work twice.
David Slade has done the impossible - he managed to butcher the "Eclipse" novel altogether! Instead of the most dynamic book of the saga, which – though possessing no literary qualities of big literature - is at least a page-turner, he produced an incredibly cheesy hash-dish of disconnected episodes, none of which is charged and coherent enough for the viewer to evaluate its meaning for the plot and character development. The film has no magic of Catherine Hardwicke's "Twilight" which concentrated on the phenomenon of first love with all shades of emotion, its tenderness and blunders. The colour gamut of "Twilight", the dialogues, the motivation of the characters, the pacing varying from slow to lightning speed – everything was there to contribute to the magic. Chris Weitz, on the other hand, concentrated on the character of Jacob and on the film gathering momentum in the very end, when Bella goes to Italy. This break from the slow pacing of the time tedious for Bella to break-neck speed of the Italian part does the film credit. Though in comparison with "Twilight", Chris Weitz almost botches up Edward's character to save it at the last moment in the episode with the Volturi, both films have an atmosphere of their own. Not so the "Eclipse".
Slade and Rosenberg seem to have been intensely hating the book while filming it. How otherwise could they have created this this product (euphemism)? No coherent and consistent dialogue, no dialogue meaningful enough to give the actors at least SOME room for displaying their acting skills, no character motivation, no chemistry between the characters. The flashbacks with Rosalie and Jasper held some promise, but no, David Slade was very consistent in destroying their appeal, too. Both the stories lack some essential parts absolutely necessary for understanding the characters. On the whole, all the actors have to mumble through some nonsense lines which have to pass for dialogue. ALL of them seem to be there just because the franchise must plod on. Edward's repeated bleating about Bella marrying him obviously gets even on his own nerves. Action? Don't make my cat laugh. If this tiny part of vampires' training and a tiny fragment of real fighting lacking any gusto can be called action, then I'll eat my hat. I bet people expected much more than that bit of morning exercise, waving hands and raising legs. The only credits in this field go to Jasper and Emmett.
Acting? Godawful. It seems the main characters are suffering from various diseases and need medication real quick.
Edward is hanging about with the facial expression of one having chronic dyspepsia. It seems that each and every Bella's appearance on the set is nauseating for him and he's manly fighting this emotion to conceal it. Motilium and sickness medications, quick! It's not a progress in acting, but a step back. Edward was best in "Twilight", in "New Moon" it was slow deterioration, now it's a catastrophe. Edward must be changing, but - so? Edward seems to be turning into a willing slave of Bella and effacing himself completely. It's obvious that, on the one hand, the actor was left with no choices of his own and with not much of a role to play, on the other hand, he's tired of the franchise whatever he may be saying in public (and anyone would be tired of this film 'very DIFFERENT from the previous two'). By the way, we should do Mr. Pattinson credit, for he's honest – he said that he feared nobody would come to see the film. He has definitely seen the pre-release copy. Next time I'll be more attentive to the messages he sends.
Bella. She's lost all the appeal of a young inexperienced girl caring for everybody, eager not to hurt, to bring together, a heart bleeding for everyone. Now we see an egoistic scheming wench not caring a fig about anybody, her only aim, as we learn in the end, was to sift through her motives and to make the RIGHT choice, and that's becoming a vampire, love is secondary here. Is she doing it for her shrink? Next time fetch your pocket calculator to draw up the balance, Bella. Bella's attempt to seduce Edward looks nauseating, so pre-planned it is. Where's love, where's sincerity, where's youthful impetuousness? Gone to the dogs. On the whole, judging by Bella's facial expression it's evident that the girl was dropped head down more than once in her infancy and now has difficulty comprehending what is being said around her. Acetazolamide may have helped, had it been taken earlier. Bella's also obviously a mouth-breather. Remove your adenoids, Bells. Before it's too late and you're too far gone.
Jacob. No progress in comparison with "New Moon", too few and too bad lines given, too little screen time.
Victoria. Rachelle Lefevre was voluptuous, lascivious, dangerous. Bryce Dallas Howard is emaciated, pitiful, heavily painted and timid. She can't touch Rachelle Lefevre. A very bad choice. The wig alone doesn't make the character. A bad mistake of "Summit".
Was there ANYTHING good? My thumbs up to Jasper, Alice, Emmett, Carlisle, Charlie, Riley (though Riley's part could have been made more dramatic and consistent, but not with the current wonder script, alas). Oh, yes, the landscapes were impressive.
It seems interesting that in a number of his parts Robert Pattinson addresses the theme of freedom / absence of freedom. See for yourself:
1) Giselher in "The Ring of the Niebelungs". Giselher is a young prince, and, at first glance his life leaves nothing to be desired. But Giselher yearns for freedom. It's not by chance that he always wants to go beyond the walls of the castle, wants to go to battle, to see the world, to love without having to conceal the whole affair , but he may not do what he wants. If he makes some of his dreams come true, it's not due to his circumstances, it's notwithstanding them. Giselher is a wounded heart. He lost his parents in the same way Siegfrid did (by the way, the episode in the smithy leaves a good impression.) Pattinson copes with portraying a wounded person, a person unsure of himself, but a person ready to cast away conventionality and neglect all the bans.
2) Toby Jugg. This film echoes "Leg" (1992), metaphorically presenting physical and moral traumas, inflicted on a soldier by the war, touches upon the problem of admissibility of evil, limits of evil, obedience and disobedience, refusal to obey cruel orders or their acceptance, personal responsibility, also touches upon the problem of freedom and its absence, looking for the way out and beyond. Toby Jugg is locked within his crippled body, he's locked in his nightmares. Trying to fight his way out of all these, he comes to realize that the measure of evil he has inflicted is already done, and his freedom lies in executing himself, passing a verdict on his night air raid, and on the phonies around him who have distorted his vision. Pattinson copes very well with the psychological tension of this part. It's he who makes the whole film, where had the part been performed by some less talented actor, the film would have been reduced to a Sunday-night mediocre horror.
3) "Little Ashes". The actor convincingly addresses the theme of the freedom of an artist. What he does really well is showing the "evolution" of Dali. Dali, Lorca and many other artists are "people skinned alive", feeling and perceiving the world around them so acutely it's painful for them. All Dali's posing as a genius is just a mask to cover this vulnerability, a mask to hide this pain from himself as well, a form of autogenic training.
4) "The Twilight Saga". Many people reproach his Edward Cullen for his still face, absence of emotion. I should say that Edward Cullen is one of the least free characters portrayed by Robert Pattinson. Edward's emotions cannot be as lively and variegated in their visual manifestation as those of ordinary people. On the one hand, Edward has condemned himself as a monster, he sees himself as a castaway, soulless, doomed to empty existence. This gives him a horrible inferiority complex. On the other hand, he understands how breakable the world around him is, how imperfect; he fears to destroy his world and his love. And – this is also the habit of secrecy he has had to practice for about a century. And don't forget the constant physical (the burning thirst) and moral pain he lives in. Edward finds limitations and walls wherever he turns. Would your emotions look lively and natural if you had been trained to practice total self-control and exercise constant analysis? No, this "slow response", this constraint speaks in favour of Pattinson's interpretation of this part. By the way, the actor himself named "aggressive humility" as the main trait of Edward's character and attitude. I think this definition hits the nail on the head.
5) In "Remember Me" the theme of freedom is also touched upon, though it might not be the main one in the film. Tyler's brother has died as a result of his being unable to exercise his freedom in choosing his career, his way in life. Tyler is very much affected by this death, and he can't help thinking about what freedom is for every man, and what necessity is.
To cut a long story short, these films analyze different aspects and manifestations of freedom / absence of freedom in different situations: in growing up, in love, in war, in art. A good choice of food for thought.
Why does Pattinson repeatedly address this theme? What is it for him personally? Anyway, his interest in the topic is consecutive and consistent.
We shall live and see what turns his acting career will take, but, in comparison with somewhat cardboard Cedric Diggory, Rawdy, Art, the actor has made great progress. It's evident he's analyzing, searching, working, perfecting. I believe he will never stop participating in commercial projects (and it's understandable), but, hopefully, will also take part in indie and art-house films, like so many good actors. This will certainly leave room for further professional growth. Anyway, he has all the makings of a very talented actor now, let him make good use of his talent.
1) Giselher in "The Ring of the Niebelungs". Giselher is a young prince, and, at first glance his life leaves nothing to be desired. But Giselher yearns for freedom. It's not by chance that he always wants to go beyond the walls of the castle, wants to go to battle, to see the world, to love without having to conceal the whole affair , but he may not do what he wants. If he makes some of his dreams come true, it's not due to his circumstances, it's notwithstanding them. Giselher is a wounded heart. He lost his parents in the same way Siegfrid did (by the way, the episode in the smithy leaves a good impression.) Pattinson copes with portraying a wounded person, a person unsure of himself, but a person ready to cast away conventionality and neglect all the bans.
2) Toby Jugg. This film echoes "Leg" (1992), metaphorically presenting physical and moral traumas, inflicted on a soldier by the war, touches upon the problem of admissibility of evil, limits of evil, obedience and disobedience, refusal to obey cruel orders or their acceptance, personal responsibility, also touches upon the problem of freedom and its absence, looking for the way out and beyond. Toby Jugg is locked within his crippled body, he's locked in his nightmares. Trying to fight his way out of all these, he comes to realize that the measure of evil he has inflicted is already done, and his freedom lies in executing himself, passing a verdict on his night air raid, and on the phonies around him who have distorted his vision. Pattinson copes very well with the psychological tension of this part. It's he who makes the whole film, where had the part been performed by some less talented actor, the film would have been reduced to a Sunday-night mediocre horror.
3) "Little Ashes". The actor convincingly addresses the theme of the freedom of an artist. What he does really well is showing the "evolution" of Dali. Dali, Lorca and many other artists are "people skinned alive", feeling and perceiving the world around them so acutely it's painful for them. All Dali's posing as a genius is just a mask to cover this vulnerability, a mask to hide this pain from himself as well, a form of autogenic training.
4) "The Twilight Saga". Many people reproach his Edward Cullen for his still face, absence of emotion. I should say that Edward Cullen is one of the least free characters portrayed by Robert Pattinson. Edward's emotions cannot be as lively and variegated in their visual manifestation as those of ordinary people. On the one hand, Edward has condemned himself as a monster, he sees himself as a castaway, soulless, doomed to empty existence. This gives him a horrible inferiority complex. On the other hand, he understands how breakable the world around him is, how imperfect; he fears to destroy his world and his love. And – this is also the habit of secrecy he has had to practice for about a century. And don't forget the constant physical (the burning thirst) and moral pain he lives in. Edward finds limitations and walls wherever he turns. Would your emotions look lively and natural if you had been trained to practice total self-control and exercise constant analysis? No, this "slow response", this constraint speaks in favour of Pattinson's interpretation of this part. By the way, the actor himself named "aggressive humility" as the main trait of Edward's character and attitude. I think this definition hits the nail on the head.
5) In "Remember Me" the theme of freedom is also touched upon, though it might not be the main one in the film. Tyler's brother has died as a result of his being unable to exercise his freedom in choosing his career, his way in life. Tyler is very much affected by this death, and he can't help thinking about what freedom is for every man, and what necessity is.
To cut a long story short, these films analyze different aspects and manifestations of freedom / absence of freedom in different situations: in growing up, in love, in war, in art. A good choice of food for thought.
Why does Pattinson repeatedly address this theme? What is it for him personally? Anyway, his interest in the topic is consecutive and consistent.
We shall live and see what turns his acting career will take, but, in comparison with somewhat cardboard Cedric Diggory, Rawdy, Art, the actor has made great progress. It's evident he's analyzing, searching, working, perfecting. I believe he will never stop participating in commercial projects (and it's understandable), but, hopefully, will also take part in indie and art-house films, like so many good actors. This will certainly leave room for further professional growth. Anyway, he has all the makings of a very talented actor now, let him make good use of his talent.