"Tony Soprano" (dial-up go away)
11-03-2009, 02:51 PM
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"Tony Soprano" (dial-up go away) Tony Soprano- Like you never seen him before:
For a hi-def (150mb) clip, right-click & download:
http://www.a1actionauctions.com/wtwta.wmv
Where the Wild Things Are is about a child's innocence brushing up against reality's prickles. As king, Max (solidly played by newcomer Max Records) inherits the wonder of power, bossing around the monsters in fits of rumpus fun. The child-like tyranny of fun is easy, but the party's sheen wanes, and Max faces the actual responsibilities of leadership. When forced to deal with being a caretaker, mediator, and confidant to his kingdom's dysfunction, Max is in way over his head. The monsters of his fantasy world engage in the same frustrations and pettiness he sees in adults of his real childhood, and the solutions to their problems reveal deeper fissures in the group's fabric. It seems as though Max's come-to-life toys have become manifestations of his own emotional baggage.
The rock of the family is the volatile Carol, tremendously voiced by James Gandolfini, who strikes gold with the uneasy balance of terror and sensitivity he made famous with Tony Soprano. Carol's foil is the grounded KW (Six Feet Under's Lauren Ambrose) who's maternal instincts are most valued by the group. The rest border on caricature, but each adds an element to the nomadic collective. A nod goes to the special effects here, as the creature's nuanced glances show ages of worn down weariness.
So, is it for kids? Well, yes and no. It's dark--very dark for a kid's film. But so was Dark Crystal. There's scary scenes of bullying and the cartoon violence comes with its cost. Add a lot of talky parts that slow down the pacing, and we've got enough reasons that it might not be kid-friendly. But I'm of the opinion that kids need more thoughtfulness rather than--as Fred Rogers said it--"bombardment" they get these days.
The film's contrast between a child's sense of fun and the buzzkill of humanity really strike home what it means to be a kid, and Eggars/Jonze's script captures that genuine sentiment. Some call the regression escapism, and certainly it is, but the film demonstrates good reason why it matters.
Another clip..
http://www.imdb.com/video/imdb/vi3225158169/
For a hi-def (150mb) clip, right-click & download:
http://www.a1actionauctions.com/wtwta.wmv
Where the Wild Things Are is about a child's innocence brushing up against reality's prickles. As king, Max (solidly played by newcomer Max Records) inherits the wonder of power, bossing around the monsters in fits of rumpus fun. The child-like tyranny of fun is easy, but the party's sheen wanes, and Max faces the actual responsibilities of leadership. When forced to deal with being a caretaker, mediator, and confidant to his kingdom's dysfunction, Max is in way over his head. The monsters of his fantasy world engage in the same frustrations and pettiness he sees in adults of his real childhood, and the solutions to their problems reveal deeper fissures in the group's fabric. It seems as though Max's come-to-life toys have become manifestations of his own emotional baggage.
The rock of the family is the volatile Carol, tremendously voiced by James Gandolfini, who strikes gold with the uneasy balance of terror and sensitivity he made famous with Tony Soprano. Carol's foil is the grounded KW (Six Feet Under's Lauren Ambrose) who's maternal instincts are most valued by the group. The rest border on caricature, but each adds an element to the nomadic collective. A nod goes to the special effects here, as the creature's nuanced glances show ages of worn down weariness.
So, is it for kids? Well, yes and no. It's dark--very dark for a kid's film. But so was Dark Crystal. There's scary scenes of bullying and the cartoon violence comes with its cost. Add a lot of talky parts that slow down the pacing, and we've got enough reasons that it might not be kid-friendly. But I'm of the opinion that kids need more thoughtfulness rather than--as Fred Rogers said it--"bombardment" they get these days.
The film's contrast between a child's sense of fun and the buzzkill of humanity really strike home what it means to be a kid, and Eggars/Jonze's script captures that genuine sentiment. Some call the regression escapism, and certainly it is, but the film demonstrates good reason why it matters.
Another clip..
http://www.imdb.com/video/imdb/vi3225158169/
Last edited by Mr. B; 11-03-2009 at 03:06 PM.
