Talk about FILMS you’ve just seen!
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Couldn’t hear an instrumental score. There were some bits that sounded like it, but I think they were possibly instrumental passages from MJ songs.
Oh. No, I don’t think so. Wouldn’t be much room for it anyway. Unless you were having a dig at MJ’s music? 🙂
Well, I am not a fan of his music.
And many song-based films about pop stars have bits of score in certain key scenes.
Just came back from Antoine Fuqua’s MICHAEL
Will watch that some time the next weeks with my nephew as he is a huge fan. As far as I know this is only part 1 so there might be some hints of the controversials in the next. Doesn’t this movie stop before those actually got public? But somewhere I mean to have read that they had to change/remove some things.
There is also a musical – also running here in my city – which also had quite a discussion because leaving the controversials, too. If I recall right we had a topic about how to separate artist from its work somehwere, too.
Could be. The film ends with a performance of “Bad” and then the words “The History Continues” or something. I just took it as a poetic ending, alluding to his HISTORY album, but maybe there’s a sequel in the works.
Such an end would be fitting indeed. At least I read that it is planned as two parter right away. But don’t remember where, so may be wrong.
What happened, as far as I know, is this: as it is right now, the movie ends with Michael Jackson going on to the height of his fame some time in the late 1980s. Originally, the movie was to include much more, including later aspects of his life. However, since there’s been so much controversy now about the second half of Michal Jackson’s life, and because the way some events were originally portrayed they might go against non-disclosure agreements between various parties and all kinds of legalities, the filmmakers did considerable re-writes and re-shoots, to let the movie end the way it ends now. A lot of already shot film is basically scrapped. Director Antoine Fuqua has stated that he might consider re-purposing the shot material for a part two, but because of all the possible legal issues involved, don’t hold your breath for the sequel to appear.
Indeed, I read similar things meanwhile, too. I will see it next week with my nephew who is a fan of the music (and maybe would not understand or even care for currently all those controversies being turning 13 only soon…)
I just came back from Chie Hayakawa’s RENOIR (2025), which was part of last year’s official competition programme in Cannes. It’s a 2026 film over here. It’s certainly a good coming-of-age story, although I didn’t quite grasp Fuki’s actions and motivations, she was very hard to read (was it a longing for connections?). But some fine recurrent visual motifs, like bridges (“crossing over” – death, class, into adulthood). Compared to the Taiwanese coming-of-age film LEFT-HANDED GIRL, it didn’t quite reach those heights (that remains my favourite of the year so far), but a film that can be unwrapped on subsequent viewings; the blurred lines between reality and dreams, past and present, for example.
Yesterday I watched Coppola’s MEGALOPOLIS which I had on my Netflix list for a long time. So the “leaving soon” note motivated me… Although it had some nice visuals and some nods to METROPLIS here and there it didn’t do much for me… Can’t write much more as I already don’t remember much anymore…
MEGALOPOLIS is one of those delightful “grand follies” I can’t help but appreciate. I wrote a few sentences about it here.
It would not be the first time that I would like a score on CD that I didn’t pay atention to in the movie. MAybe I even was not in the right mood for this one… Watching things just because Netflix will remove them is probably not always the best motivation (I am glad that they by now actually visually announce that at all!).
Watching things just because Netflix will remove them is probably not always the best motivation.
Maybe not, but it’s a good excuse. I did that a lot too, back when I had Netflix access.
Maybe not, but it’s a good excuse.
At least it helps with the “decision fatique” of a grown watch list.
I use a random number generator to decide which film on my TV recorder I am going to watch. I have 400 hours of film there, max capacity is 500 hours. Of course I am never going to see them all, taking into consideration how few films I see. I guess I must start deleting soon..
Just came back from a “double feature”.
First was Gus van Sant’s DEAD MAN’S WIRE, which was a pretty straightforward hostage drama — but the real-life source story was rather thin, so it didn’t do much to heighten the proceedings. It’s like “boiling soup on nails”, as a Norwegian expression goes. But great 70s colourite, washed out, heavy on browns. Elfman’s percussive score tries to do another DEAD PRESIDENTS, but never reaches those levels. It plays second fiddle to the period songs.
Second was the German film AMRUM by GEGEN DIE WAND director Fatih Akin. A rather sweet coming-of-age story set on the island of Amrum (in the North of Germany, close to the Danish border — in fact, it was part of Denmark once) at the tailend of the second world war. About a young son in a nazi household that tries to uphold his mother’s morale by trying to find a whitebread with honey and sugar, but also coming to terms with nazism’s true face. It’s a fairly straightforward narrative again (kinda Oscar-baity…think THE BOOK THIEF), but the real attraction – at least for me – was the island setting, an island whose topography reminds me of Fur in the north of Denmark (where we’ve had a summer house since the early 80s). Some wonderful totals and mood shots, I just wish there were more!
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