theater of blood
Whether we like the first one or not Dead Pool, it must be recognized that Tim Miller’s film imposes itself every year as an “important” cultural landmark, so its relationship to the second level and to the fourth wall that exploded with a bazooka spread like an oil slick in the Hollywood industry. . Sign of mediocrity or a simple weakness, the ideas of genres and cinematographic codes are nothing more than checkboxes to better laugh at them.
It seems to be the norm lack of necessity and inventivenesshidden beneath the irony is knowing that the company doesn’t believe in its narrative, let alone reinventing the wheel.
“Do you like cynicism too?”
If some insist that this kind of post-modern deconstruction works in cycles, it seems that Western cinema is still in the trough of the wave, preventing any first degree from the altar ofcollusion with a spectator who will not be fooledand no longer seek to be deceived by the magic of the seventh art.
At this point, the frustrated voice-over of Amazing turn of events has obvious merit: “It’s a whodunit. If you’ve seen one, you’ve seen them all”. The forced flash announces the color: under the cover of a pseudo-modernity that will ensure its diversity, the film by Tom George (director of the comic series This Country) doesn’t want to make any effort.
Aren’t we a little angry?
The Crime of Express Boredom
The feature film is more pathetically based a fun mise en abyme on paper. While producer Damian Jones really wanted to adapt a play from the work of Agatha Christie, he knew that The mouse trap could never be transferred to the big screen due to a contract clause. It stipulates that a film can only be made after theatrical performances. No luck, it has now been played in London’s West End for nearly seventy years.
So from this context that Amazing turn of events unfolds his investigation behind the scenes than this basket of show business crabs. An obvious choice, but from where it can take advantage of a fun and squeaky vein. Unfortunately, apart from two bad jokes that take advantage of its decorative possibilities (a dangerous pulley, a wrong exit door…), the film is satisfied with very little in this world of genius, almost self-satisfied with his unique ideas like a child proudly showing us a necklace of noodles.
“Hello, I am the partner wink. Please cooperate”
Since then, one can say that everything is in line with Kenneth Branagh’s turnips, except that he frankly admits his love for the whodunit, although he has nothing to do with it. At his side, Amazing turn of events annoying, the sin of a narrative as good as its characterdepressed inspector played by a disappointing Sam Rockwell.
Not only did most of the valves fall by the wayside, but the overall dynamics of the narrative were starched by it should take the clichés such as flashbacks or explosive climaxes as the storyline rushes towards it. Worse, such mockery would be (almost) tolerated if the film could at least stand up to scrutiny, which is the least a whodunit can do.
But there again, the feature film does not seek to emphasize its complex investigative work, which is the main source of pleasure that the genre induces. On the contrary, Tom George prefers to make his play more demonstrative, and focuses only on certain characters, even if it means reducing the list of suspects.
A very well thought out casting
Poirot or Turnip?
Indeed, Amazing turn of events is all the more heartbreaking as it desperately tries to change the success ofOf the daggers taken. The difference is that Rian Johnson returns to the substance of the whodunit, not by rejecting its codes to observe their antiquity, but by embracing them better to distort them.
This is how you craft a smart post-modern thing, which is fun while entertaining the audience. The mansion with hidden rooms, the troop of hateful characters and the investigators with impossible accents, everything happened there with a refreshing energy, which paid sincere respect to Agatha’s identity Christie to break certain requirements (the inability to lie) or squeeze. it with more contemporary themes (the immigrant situation of the same nature).
Aren’t we a little angry? (bis)
In comparison, Amazing turn of events stuck to the beaten track, starting with a very superficial view of the misogyny of his time. The determined and naïve young policewoman embodied by Saoirse Ronan may try to be the emotional heart of the story, her presence seems reasonable only when remembering the roles of the actress in the films of Wes Anderson.
With its profile shots, its smooth side tracking shots and its pastel colors, Tom George’s film clearly seeks to see the director’s side of The Grand Budapest Hotel, but without malice or sadness. Too bad, because Amazing turn of events sometimes saved by his beautiful photography, and above all by the inventiveness of his music, which we owe to the ever-brilliant Daniel Pemberton. But none of these can withstand the smell of mothballs from a project so convinced of its modernity that it has become increasingly old-fashioned.