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This was a lot more downbeat (in the like, bummer sense) than I expected, really liked it though.
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Jun 29, 2017 08:36
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| # ¿ May 4, 2024 02:40 |
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Smh at Sony's insistence on sticking their handhelds in their movies though. Before I realized it was a Vita & not a psp I honestly wondered for a second if the nephew playing it was supposed to imply that the movie took place in the recent past.
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Jun 29, 2017 08:53
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Spergatory posted:There's a preacher in the opening dance montage (who Baby pointedly avoids) yelling about washing away your sins, and the movie reiterates that theme. Blood doesn't wash away in the sink, you only have to wash your hands once after counting it, I don't want your dirty money, etc. The subtle-as-a-baseball-bat color symbolism reinforces this; throughout the movie, Baby wears a grey and black jacket with a t-shirt underneath. At the beginning, the shirt is light grey, close to white but still a little off. By the time turns himself in, his shirt is dark grey and stained with blood. Only at the end, after he's served his time and paid for his crime, is he seen in true white. He's been washed clean. ya its the dolly parton quote
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Jul 3, 2017 23:42
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PostNouveau posted:Great movie. Is it actually parole? I thought it was just like, a check-in to see if his sentence would be commuted at all.
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Jul 8, 2017 08:32
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PostNouveau posted:I took the transition from black and white to color (his first fantasy is all black and white) to mean that Baby got exactly what he was dreaming of when he got out of prison. His fantasy of freedom came true. 2 just copy-paste my take from the GenChat thread: I don't think we're supposed to take that as literal, the entire film is about Baby engaging in constant escapism to avoid the consequences of his actions. The end of the movie has him engaging in an identical fantasy to one we see earlier in the film. But the difference is that contextually the fantasy is a little more real (colored) because this time there's room for it to at least exist in some form in the future. It's still presented in a sort of hazy fantasy style & it transitions from him looking at that postcard to the scene. At the very least I think it's supposed to be ambiguous, I remember reading somewhere recently that Ansel Elgort says he thinks it's definitely not real so it's not like it's a super implausible take.
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Jul 8, 2017 20:48
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Blisster posted:Eh, I could buy it being a fantasy but what does that really add to the movie? Baby doing his time and then reuniting with Deb is a logical way to end his character arc. She sticks with him through crazy gangster gunfights and car chases, and is willing to run a blockade of FBI agents for him, so I don't see why she wouldn't wait for him to get out of prison. The colour transition seems to suggest that this time it's not the same as the previous fantasy sequence. It's a good question, I'd say the difference between it being him literally getting out of prison versus it being a fantasy of him getting out of prison is the idea that he's still got to suffer through the consequences of what he's done. When I pasted it here I cut out the second half of my original post bcuz im an idiot & thought it was unnecessary here but it clarifies my take a bit "I mean personally I found Baby likable but I think the movie very much portrays him as a bad person, especially with Buddy as a sight of him in the future (a former driver with a love interest he's willing to die for [and all he cares about], who is, as Jamie Foxx's character points out, also implicit in violence that he doesn't necessarily own up to), his decision at the end is him purposefully making a decision unlike his father to end the ***cycle of violence***. But it doesn't mean that Baby is free of the consequences of his actions." e: apologies if its bad form 2 just paste stuff ive posted already...im min/maxin Hat Thoughts fucked around with this message at 21:23 on Jul 8, 2017 |
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Jul 8, 2017 21:14
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PostNouveau posted:I don't think it's an implausible take on the ending. The visual language just struck me as a clear movement from fantasy to reality. I could be reading it wrong. The thing that stood out to me as differing from the rest of the montage is that a lot of it seemed to specifically follow the process of his path into prison, in court - going to jail - mugshot - in jail - working - etc. But we don't get that for a release, like, parole hearing - picking up possessions - walking out of prison, etc. Instead we get Deborah's voiceover while he looks at a postcard she sent him with a vintage car on it & then a transition to her by the exact same vintage car. At the same time that's sort of the same shorthand used for Baby getting the pizza job so it isn't like it's out of the movie's visual language. But also they look identical age-wise despite the time difference, it's an expensive car & she's wearing the same retro outfit as in the other fantasy (and I think Baby is too? But I can't remember for certain), it seems odd she would be able to do all that & also match all that (but at the same time 5 years has passed so it's not completely implausible and she was the one who sent the postcard). But I think I was wrong to say it's a fantasy, because it seems more like it's intentionally ambiguous/enough there for either reading to be plausible.
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Jul 8, 2017 23:45
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I mean, Miles...cars...
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Jul 10, 2017 23:03
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| # ¿ May 4, 2024 02:40 |
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SpiritOfSanDimas posted:Has someone here explained why Baby said "yes" to doing the last job after Kevin Spacey was ready to call it off? He was planning on leaving that night so why not just say he wasn't gonna do it then leave in peace? I think he kinda wants to do the crime & not let down his crime dads. He has too many outs that he doesn't take. Hat Thoughts fucked around with this message at 23:33 on Jul 14, 2017 |
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Jul 14, 2017 23:31
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