dda wrote:What was effective about the editing and musical cues?
I'm not sure how detailed an analysis you expect. Take an instance that combines both: the cut to the directorial credit at the end. It very effectively and wittily made me feel "yes, I just got out of a fucking party capably curated by you Olivia Wilde, I will watch anything you do." Or what about the Perfume Genius scene, whichSpoiler
captures the sense of a pounding heart, expectation, and a lead into disappointment so expertly?
Not that I'm surprised by the National Review doing this, but that article blows Wilde's tweet so far out of proportion that it reads like the writer had the article typed up before he scoured Wilde's Twitter for ammunition.
Kyle Smith might genuinely be the most worthless critic alive. Even Rex Reed can at least point to his appearance on The Critic as a point in his favor.
Unless it's a reference to a line in the film (and it may be, y'all scared me away from this one), one of the longer extras on the Blu-ray is rather immodestly called "Booksmart: The Next 'Best High School Comedy'"
That is not a reference to a line in the film - its marketing has just been that self-impressed ever since its theatrical release. And not that this is motivation for you, but I'd love to see your take especially on this movie, knowing what I know about the types of movies your gravitate towards
I really didn’t like this and had actually been waiting to see it for a while, so I’m disappointed to join the pile on. The whole cast feels like a series of cliches ever so slightly updated for 2019. We’ve seen everyone here before so many times, so you better be doing something different for them to stand out.
The story arc underwhelms. During the party scene, I didn’t feel the audience had reason to yet be emotionally invested in the romantic angles for the characters. The protagonists actually just come across as awkward and naive, but not necessarily in a way that was intended. Are we supposed to feel sorry for them? Are we supposed to pity their naivety?
Also, as someone else has pointed out, we could have done with less of the heavy music slow-mo bits. They had no impact whatsoever, neither wowing in an artistic sense or absorbing you into a moment in time with the teen characters. The soundtrack is just... meh.
Most of the soundtrack is comprised of forgettable and not-particularly-fitting choices (one area of many where Euphoria absolutely blows this movie out of the water), sure, but one cue in particular absolutely stunned me in how ill-suited it was to this movie. Jared, the annoying rich kid, has a flashy car that, at two separate points in the movie, pulls up to our leads. To signify that the car is hot shit (I guess?), these moments are set to the opening few seconds of... "I've Seen Footage" by Death Grips, a song about watching videos of people dying on a LiveLeak-type site.
Satori wrote: Wed Jun 05, 2019 6:17 pm
Wow, guess I'm actually the only person who liked this movie. Well, I know a lost cause when I see one. I'll just be moving along folks, nothing to see here. :-"
This is basically what I want to post.
The Invite caused me to come here...and cry.
I think Booksmart is absolutely brilliant, but I don't have a detailed / coherent case to make tonight.
But honestly, I've never been so heartbroken while reading a Critorg thread.
TMDaines wrote: Fri Sep 13, 2019 10:01 pm
I really didn’t like this and had actually been waiting to see it for a while, so I’m disappointed to join the pile on. The whole cast feels like a series of cliches ever so slightly updated for 2019. We’ve seen everyone here before so many times, so you better be doing something different for them to stand out.
The story arc underwhelms. During the party scene, I didn’t feel the audience had reason to yet be emotionally invested in the romantic angles for the characters. The protagonists actually just come across as awkward and naive, but not necessarily in a way that was intended. Are we supposed to feel sorry for them? Are we supposed to pity their naivety?
Also, as someone else has pointed out, we could have done with less of the heavy music slow-mo bits. They had no impact whatsoever, neither wowing in an artistic sense or absorbing you into a moment in time with the teen characters. The soundtrack is just... meh.
Which party scene? There's 3 of them!
And each party takes giant leaps in plot / development / intrigue.
One of my alltime fav scenes in film is the one-take wonder that follows a very unhappy exit from a pool, through a maze of people and rooms, to a friend who is distracted and preoccupied. The argument that follows, in the take, as the crowd quiets and fixes attention (and phones!) to the main characters, is a stunning achievement in gradual plot build and intensity. The dialogue eventually fades into musical soundscape...we don't need to hear it all. (But it is available in a preliminary edit version for those who care.) A powerful / devastating scene.
