I borrowed my brother’s blockbuster copy after he’d said he couldn’t finish it and so I was determined to see if I could. Spielberg introduces the movie by saying he made it to highlight the issues of this compelling story. I’d say he succeeded in doing that. As another reviewer points out the parts about home feel contrived and the movie is stronger when it renders the increasing disorder of events. We keep trying to make sense of things, but so far, all our conclusions seem premature.
There were many thoughts in this movie that were compelling.
The terrorist who sleeps in the closet because he’s afraid of the bomb under the mattress – you have to kill running because its stillness you’re afraid of – the complexity of sides – time and chance catch everyone in the race. Beyond the technicalities of the movie, I found the ideas I think Speilberg is trying to communicate important to consider.

Too much filler to read so I just skimmed it to the end. But gotta give it to him for starting this when he was 15! He’s got good ideas, so if he learns to tighten it up, I’d follow him along. At least to check out the third installment. Pared down, it’d make a good movie.

What SimCity did for Frank Miller, MirrorMask does for Gaiman/McKean. AS McKean points out in the extras, anyone with a Mac can make movies today making this a revolutionary event for movies on par with adding sound. There is a wealth of storyboards out there in comics that don’t need much tampering with. In addition, production of less popular comic books is more feasible. Directors used to treat movies like plays and gradually learned that this was a medium that could do things that plays can’t. On the other side, I think many directors have treated comic book stories like movies such as Spiderman, and Daredevil. With movies like Mirrormask, Simcity, and Ghost World, we are getting more from comics than the characters. They are expanding the way we think of a stories look and feel, and enriching the setting and plot. The Watchmen is in pre-production!

So that’s where that music comes from..
Anythony Hopkins was great – love that creepy little monologue at the end. My Dad wouldn’t watch this movie.
I have always wanted to see a movie where the main character gets bumped off early. I imagine he broke conventions when it was made, and I wonder are we aware of the conventions today that can be broken. More sex and violence doesn’t seem to cut it. The trick is to make it watchable.

Partway through this novel, Im asking myself what is going on? then after a few rereads and more overlaps in time and character, scenes of s+m and a long description of an iron grill I found out what a ‘new’ novel meant. It must be hard to strike out a new style, to do something different with story-telling. I like experimenters and experimentation so I admire the existence of this book. It’s literary Dali. Reading it was a chore. And what is with the french and nihilism? is it the marquis, and if so where did his ideas come from?

Boring.

Project for a Revolution in New York of the was enough of the ‘new novel’ for me.

Because by the end of the story the beginning takes on a new perspective and you wonder what happened? how did I get here?
I love his straightforward delivery of interesting concepts. Reading him is exploring. Death and the Compass – I think is about the way we approach the idea of God. His autobiography helped me realize how this directness took time to emerge.

I liked the messiness and improvisation of the ‘missions’ in this movie. I liked Hoffman as a bad guy. When Tom slides down the glass ceiling and slams into the edge and says ‘ok’, I released the grip I had on the seat. This movie was (cliche) action-packed. Which is what I went to the movies for that day. I would’ve prefered to see his character cooler but this mission was personal. So, despite Tom’s remarks and behavior in his personal life, he still delivers with MI3.
3.5/5