orcagurl

Okay, I'm on the fence with Miami.

I adore Vegas, I really do, but recently I got into Miami and I've been addicted to this show as well. However, I see its shortcomings, and it makes you wonder whether it comes up to par with its original. It's definitely more popular than Vegas internationally, but some aspects of the show come into question.

First of all, Miami is a lot flashier. Some people think that makes it better, some don't. I think I can understand people who prefer Miami because it happens in the day, but Vegas happening at night is unique. There's more action, and the characters are more involved, more stuff happens to them, the situations and plot progessions are more fictional. This is a more conventional TV show, whereas Vegas concentrates more on the cases, and their CSI's are more behind the scenes instead of run around'n'catch'em.

Second of all, the front runner of the show. Vegas has Grissom. New York has Taylor. Miami has Caine. huh....Horatio, Horatio, what can I say about you? He's compelling to watch at first. Then, it gets old. Really old. With some of the situations you can't help but yell, "That's so CHEESY! Why isn't anyone else cringing at this?" He makes waaaay too many promises, either to protect someone, or catch someone, or make sure he's gonna get someone. How the heck does he keep track of it all? He is far too damn uppity moral, and his interactions with Marisol are without chemistry whatsoever. I don't understand how Delko can handle it (I think he might blow).

Apart from that, the rest of the cast is quite excellent and endearing. In fact, Miami is quite a slick, well-oiled machine. The film-making here is just as professional and top-notch as the rest of the CSI shows, which is a big kudos to the producers and creative team. At least you're watching quality, you know? To summ it all up though, I think there is one thing I can say that will fully explain Miami (and other users on IMDb have put this in their comments too).

If Emily Procter leaves the show (oh god if Calleigh's the mole I'm gonna die) I'm not watching Miami anymore.

Yes, an entertaining film, yes beautiful on a cinematic aspect, but all in all, a silly period piece, and considering the subject matter, it would have done better if held with more sensitivity than sentimentality.

It's not a smart period piece, let's start with that. The 'jovial' verbal sparring that goes on between Veronica and Platt's character is trite, and with clumsy innuendos. The sexual fascinations the men of Venice have with Veronica comes off as somewhat artificial, and Veronica herself, doesn't seem like such a dangerous beauty. The emphasis for power and intelligence in courtesans is quite clear in the film, but apart from showing her reading a couple of books, this doesn't come across. The exchange between Veronica and King Henry was set up to be challenging, and interesting, and then too easily resolved. The conclusion between Marco and Veronica's characters ripped right out of a Harlequin romance, and not given any sort of punch to make it favorable. I was hoping that Veronica would truly be strong, and assert herself as a powerful woman, but her weaknesses and what she gave into demeans this. And Paola, her mother, was quite shocking and somewhat incredulous. The film tries to explain her motives for pushing Veronica to become a courtesan, but the training session sequence still leaves an uneasy feeling about her.

I sound quite unforgiving towards the film, so here I admit there were some good moments. Veronica explaining the not so glamorous part of a courtesan's life. The court scene (though the conclusion was still a mite too easy) held some power the rest of the film should have. Veronica's interactions with Domenic. And the Minister Rimbarti was a very sympathetic character and he stood out in the scenes he was in.

So all in all, it's okay to watch, but if you're expecting something that actually has meaning look somewhere else.

This film, I must say overall, was a success.

Most films that are adaptations of a stage/theatre production are just actors acting in front of the camera. Some such disappointments being Huston's 'Annie'. But Joel Schumacher truly came into his own, made many brave decisions and risks, and has created something that film can embrace as its own.

The camera work is phenomenal and the sets and costumes are detailed, lush and must have had much love and care put into them. In many scenes the camera whirls around and you feel like you're caught up in the dizzy dancing and its a very nice touch. Also interesting and somewhat disturbing (in a good way) is how the present is in black and white, like aged film, and yet the past is in such rich colour. It seems to implicate (like in Wender's 'Wings of Desire') that we have fallen from grace in the later years.

The singing, I actually thought, was quite decent. Usually I do not enjoy opera, and this film was done in an opera style, but I rather enjoyed it and have come to appreciate it better. Good singing from everyone. Emmy Rossum's voice goes high but she is not shrill. Gerard Butler has a powerful voice and carries much emotion. Even Raoul was decent. The music is lovely and moving. I'll never be able to hear the phantom theme without crying. The music really helped carry the movie throughout, and though there was one part where I was a little shocked at the modern, aggressive drum beat, I was pleasantly surprised to find that it fit and added depth to an otherwise, many heard theme.

However, I happened to find Rossum a little irksome. I got sick of seeing her face with the same range of expressions over and over again. I will conclude saying she is more of a singer than an actress. And she was appropriate for the role, and my complaint is little. The acting was adequate at least and stunning at best. When I want an example of stunning, I think of Gerard Butler, stealing the show.

Absolutely brilliant. This film has not disappointed at all. I believe the soundtrack will also be one of the few worth buying, once it comes out.