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Despair, we don't really notice the quick cuts because we are so used to Hk cinema -- the KB cuts were actually very well done and not nearly as severe as many recent HK cinema, such as Naked Weapon, which went from wind up to impact without the motions in between. These were impact shots, showing exactly what needed to be show.
As for the pacing -- it was fine for me, because it offered me something unique. I prefer to learn more about the villains before the main star, it's interesting that way and we also learn about Uma through the other characters and her interactions with them. It's just an alternate way to tell a story that many of us aren't used to in film work, but you see it a lot more in literature. Perhaps we will never get her backstory and instead only glean what we can from her enemies and her interactions with them.
I thought the anime scene was outstanding and had Production I.G. written all over it. I could have watched an entire movie in that style. The animation was very fluid and unique -- I.G. does that -- it experiments, if you've scene the recetn Kai Doh Maru, Sakura Wars, or Blood, etc...the styles are very different, it keeps things interesting and the transition was great, I almost forgot I was watching an anime segment...
I think you guys are missing a major point of the film -- Uma is not trying to hide her lack of skills with certain weapons, they are clearly celebrated. She is not an expert samurai or a knife fighter, this made clear in the dialogues between both villains...it is her pure vengeance that is allowing her to kill these people without dying. It has nothing to do with grace, pure vegeance. O-Ren says she does not fight like a samurai, and in the fight with Vivica Uma quips that they can use knives if they want -- Uma doesn't care, she is going to kill them with whatever it takes. The fact that she chooses the weapons each of these people are masters in, is to simple rub it in when she kills them.
Well I am still calculating why the fight order was reversed, but it is clear that we know O-ren is dead when she goes to fight Vivica, because the notebook already has O-Ren's name crossed out. I am positive T has a reason for reversing the order and quite frankly it doesn't matter what we think, he's the one who's directing it -- it's his vision. Perhaps he is trying to be anti-climactic on purpose, after years of films that simply build to a climax -- as most Asian films do. There are so many possibilities as to why he could have done this, personally I have no problem with it, as it dispells any of the crap and gets right to the point -- we know O-ren is going to die, so he justifiably gives her enough backstory to balance out the fact that we know, and then Uma does her in.
As in most cases, people are going to like it and hate, it's a vision, an attempt and some people accept it while others don't. Personally, I found it interesting because it clings to convention while breaking it at the same time. This is not a remake of a 1970s kung fu or Japanese karate film -- but something new entirely. I especially liked the camera work and while I didn't mind the Matrix: Re either, I felt KB didn't directly just have Yuen Wo Ping choreograph everything. It's clear that he did act as a consultant and that not all the action scenes were something recycled from Yuen films we've scene before.
The fact that we are picking this film apart shows that there is something to the film, love it or hate, it makes us talk, and many of these crappy hi-gloss Hollywood action films fail in that department. Knowing this is a T film, means knowing it isn't necessarily about the action, but perhaps the elements that lead to that action, or maybe he is just messing with us, knowing what parts we are going to pick apart.
let the discussion continue...
"50,000! You scored 50,000 points on Double Dragon?"
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