The camera does this here, but certainly not always. Essentially, it is supposed to put you into the scene. Hand-held cameras can be quite nauseating and annoying when noticeable, yet Chungking Express deftly avoids these trappings and instead utilizes the style effectively. Additionally, the film is just simply very well shot. This is very much the case with Chungking Express. It is always lovely when a director's style matches some element of the film and offers its own thematic elements. As the city and even their lives (as cops) run around hectically, their love life and home life remain empty and filled with solitude. The end result is a kinetic and chaotic experience that highlights the loneliness of its protagonists. Stylistically, the film uses a ton of hand-held camera, if not solely hand-held. As such, it is an incredibly cold film, but not emotionless. This is not a romance film, rather it is one about lost love and the pain it can cause. Wong Kar-wai's film may feel as though it is occurring at a distance from the audience, but lines such as these make the film realize that there is no distance at all.
Instead, it makes the experience feel incredibly real and authentic. Lines such as these will overcome inadequacies in the film as a whole, as they transcend the medium. For example, one describes how a girl who wished him a happy birthday will live on in his memories forever, only to then wonder when a memory expires. With incredibly written dialogue, Chungking Express brings its two lonely men to life with lines that absolutely touch your soul. Showing how one can be distressed and left hurt by looking to the past and waiting for it to change, Chungking Express features characters that are so incredibly real, the emotion they communicate cannot be ignored. Showing how one can be distressed and left hurt by looking to the past and A truly sad and depressing film, Wong Kar-wai's Chungking Express is an exploration of loneliness, focused in on two men looking for love in the past in Hong Kong.
And so Fellowship endures: a miracle of storytelling, a feat of filmmaking and still the gold standard for cinematic experiences.A truly sad and depressing film, Wong Kar-wai's Chungking Express is an exploration of loneliness, focused in on two men looking for love in the past in Hong Kong. Its ultimate heroes aren't the strongest, or those with the best one-liners, but the ones who just keep going.
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This oddball suicide squad has so much warmth and wit, they're not just believable as friends of each other - they've come to feel like they're our pals too.Īn ornately detailed masterwork with a huge, pulsing heart, it's just the right film for our times - full of craft, conviction and a belief that trudging forward, step by step, in dark days is the bravest act of all. But Fellowship remains the most perfect of the three, matching every genius action beat with a soul-stirring emotional one, as its Middle-earth-traversing gang swells in size in the first act, then dwindles in the third. The Return Of The King boasts the most batshit, operatic spectacle. As Fellowship thrums to its conclusion, finally applying the brakes with a last swell of Howard Shore's heavenly score, you're left feeling euphoric, bereft and hopeful, all at the same time. Onwards his adventure hustles, to the bravura dungeoneering of Khazad-dûm, to the sinisterly serene glades of Lothlorien, to the final requiem for flawed Boromir amidst autumnal leaves. Even at the halfway point, as the characters take a breather to bicker in Rivendell, you already feel sated, like you've experienced more thrills, more suspense, more jollity and ethereal beauty than a regular film could possibly muster up. The Fellowship Of The Ring contains so much movie. But here it is, brighter and more resplendent than ever. It might have taken 20 years for Peter Jackson's plucky fantasy to clamber, Mount-Doom-style, to the very pinnacle of our greatest-movies pantheon. He arrives precisely when he… well, you know the rest.
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