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Post by mhynson27 on Nov 25, 2018 7:33:43 GMT
Thoughts?
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Post by theycallmemrfish on Nov 25, 2018 7:46:39 GMT
Hanks is incredible, especially in that last act. He seems to do well with shipwrecks (I maintain his best performance and one of the best of the 2000's is Cast Away) and his snub is just made worse by the fact that he's been snubbed in BP nominees twice afterwards (not that I think he was worthy in BoS or The Post, but he's a legend and didn't get shit for either three).
The shakycam is annoying at times, yes, I agree... but it's not the handicap many here think it is.
So you mix a great lead with a great supporter in Abdi along with some strong direction and, more importantly, stronger editing... makes for a damn fine film.
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Post by mhynson27 on Nov 25, 2018 10:10:29 GMT
Hanks is incredible, especially in that last act. He seems to do well with shipwrecks (I maintain his best performance and one of the best of the 2000's is Cast Away) and his snub is just made worse by the fact that he's been snubbed in BP nominees twice afterwards (not that I think he was worthy in BoS or The Post, but he's a legend and didn't get shit for either three). The shakycam is annoying at times, yes, I agree... but it's not the handicap many here think it is. So you mix a great lead with a great supporter in Abdi along with some strong direction and, more importantly, stronger editing... makes for a damn fine film. 100% agree with you about Hanks, his final scene absolutely breaks me, one of the best acted scenes of the decade imo. |
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Post by stephen on Nov 25, 2018 16:50:33 GMT
Hanks has never been better. Abdi is herculean. The script is goddamn impeccable from start to finish. The other pirates in the film are also superb as well.
But that fucking shakycam takes an easy 10/10 film and knocks it down a point because it gets pretty damned ruinous at times. That's why I appreciated 22 July as much as I did. That conveyed a sense of urgency and freneticism without being unwatchable.
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Post by mikediastavrone96 on Nov 25, 2018 17:37:58 GMT
Damn near everything about it is truly incredible. Tom Hanks and Barkhad Abdi are rightfully the first things anyone talks about because they are that damn good, each one sharing great chemistry with their crews and fully embodying the role of captain in their vastly drastic circumstances which just makes the eventual clash of those ideas really spark on screen. It's really a great feat by the script, actors, and Greengrass that even though we obviously would not want anything bad to happen to om Hanks, we also don't really want to see anything bad happen to Abdi or the other pirates either. Abdi is easily my win and Hanks surely would be too were it not for DiCaprio discovering he's the greatest physical comedian of his generation.
Only flaw I have with the film is Greengrass goes overboard with the shakycam stuff at points. Yeah, the way he does it works well during the hijacking and especially during the ending, but it's distracting at best and nauseating at worst when he's doing it for simple things like Hanks walking into a cabin to go over security precautions. Taking out the shakycam there not only would have improved the ease of those simpler scenes but also would have made his employment during the legitimately tense moments stand out all the more.
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Post by ibbi on Nov 25, 2018 18:48:35 GMT
Soooooooooo good. The first half is electric, and brilliantly put together, then once they get off that boat and the whole thing starts to contort into something other than what it looked like it elevates itself into the stratosphere. The final shot is one of my favourites, Hanks and Abdi carry it. It's a quietly brilliant movie that's so subtle in its approach some people genuinely watch it and think it's jingoistic, chest beating crap.
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Post by Tommen_Saperstein on Nov 25, 2018 19:04:04 GMT
Am I the only one that loves Greengrass's use of shaky-cam? He used it in the Bourne films, United 93, and Captain Phillips to great success, evoking a palpable sense of tension, anxiety, and frayed nerves. That's the purpose of shaky-cam and Greengrass is one of the few directors that does it right. I'm gonna die on this damn hill.
As for this film in particular, it's fantastic in pretty much every respect, from the tension-building camerawork and frenzied editing, to the performances (esp. from Hanks and Abdi), to the precise and subtle political commentary on Western ignorance and apathy, to that devastating final scene. One of my favorites of 2013.
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Post by countjohn on Nov 25, 2018 19:47:01 GMT
Solid movie. Hanks and Abdi are good and it is well edited.
To be honest the shaky cam here is less pronounced than in most his other stuff. I don't think it quite hits the highs in suspense of United 93 and The Bourne Ultimatum as a result. Greengrass is the king of shaky cam.
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Post by JangoB on Nov 25, 2018 21:02:50 GMT
Am I the only one that loves Greengrass's use of shaky-cam? He used it in the Bourne films, United 93, and Captain Phillips to great success, evoking a palpable sense of tension, anxiety, and frayed nerves. That's the purpose of shaky-cam and Greengrass is one of the few directors that does it right. I'm gonna die on this damn hill. As for this film in particular, it's fantastic in pretty much every respect, from the tension-building camerawork and frenzied editing, to the performances (esp. from Hanks and Abdi), to the precise and subtle political commentary on Western ignorance and apathy, to that devastating final scene. One of my favorites of 2013. Yeah, I really don't mind that he uses shaky cam as a tool to amplify the tension of his films. The only time it felt too much for me was in "Jason Bourne" where the camera wasn't merely shaking but kinda went beserk. But here, in "Captain Phillips", the effect of it was intense and really put me into the shoes of the characters, bringing a strong sense of urgency to the film. I can't really imagine it working as well if Greengrass used steady compositions. Now, I can understand people thinking that he went overboard with it here but I personally didn't feel that. One other thing about the movie that is so damn good is the editing - I've always felt that it was some of the best stuff of the decade in that regard. The latter part of the film is just insanely intense and a lot of that is due to Christopher Rouse's wonderful cutting which pumps the tension up to an incredible degree without ever becoming too fast or disjointed. |
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Post by mikediastavrone96 on Nov 26, 2018 3:27:47 GMT
Am I the only one that loves Greengrass's use of shaky-cam? He used it in the Bourne films, United 93, and Captain Phillips to great success, evoking a palpable sense of tension, anxiety, and frayed nerves. That's the purpose of shaky-cam and Greengrass is one of the few directors that does it right. I'm gonna die on this damn hill. I generally agree, especially with how he uses it in United 93 - but then again, the only negative thing you'll ever hear me say about United 93 is too good at leaving me a hyperventilating, panicking mess - but I think that very visceral feeling of tension doesn't work in Captain Phillips during more straightforward, non-tense scenes. Greengrass is one of very few directors who can do shaky-cam really well, but my one criticism is not every moment in this particular film required it. That's just me, though. |
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Post by taranofprydain on Dec 12, 2018 7:09:19 GMT
Hanks and Abdi are very good.... But aside from that and the finale ane one line,that's all I can remember.
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