First lets analyze what exactly this film is made of. Basically, the
whole thing is just one epic fighting scene after another. Most
noticeably is the camera work and the visual effects. Every shot seems
like it was intended to be a work of art. The colors, the characters,
the costumes, the backgrounds... every little detail has been given so
much attention. During the big fights you'll also instantly notice the
unique editing. There are a lot of "time slowdowns" throughout the
battles which show what exactly is happening. Fatal wounds that slowly
leak blood spatters in the air, decapitated heads traveling in
slow-motion across the screen... it's all there. The story on the other hand isn't very complicated, in the sense that
the whole movie could probably be described in a sentence or two. The
dialogs are simple and most often talk about moral values like freedom
and honor. If you would look at the script, it would probably look like
another movie that has nothing more to offer then idealistic visions of
how life should be.Reviewers of this title seem to be split up in two groups. They either
love it with passion calling it an epic movie of the 21th century, or
hate it even more and throw it off like a piece of garbage consisting
of mindless action and silly cliché phrases. I feel reluctant to take a
position in this argument. Normally it's tolerable to weigh out both
sides of this matter to result in a fair judgment about a movie. Not in
this one. On the one hand the visual are surely among the best to be
witnessed in a movie. Every detail, every background, every special
effect set to the scenes are so mindblowingly stunning. On the other
hand the plot and dialogs are of the most simplistic and quite frankly
dumb kind. "I fight for freedom! I'd rather die in honor then live in
shame!" Sounds familiar?
Comic Art Magazine - 0 views
UPCOMING (Mission: Comics & Art) - 0 views
Will Eisner | | A.V. Club - 0 views
The Graphic Novel on Film in Berkeley - 0 views
Comics Links - 0 views
300 - IMDB - 0 views
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If you are easily impressed by beautiful landscapes, wonderful camera-work and editing and powerful acting then go see this. Right. Now. You'll be missing out if you don't. There is so much to see, so much power in the way this comic is translated to the big screen... It'll leave you in awe.
Graphic Novels Core Collection - 0 views
The Internet Book Database of Fiction :: Books in the genre: Graphic Novel - 0 views
The Best American Comics Criticism 2010 (Downloadable PDF) - 0 views
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Table of Contents, Introduction, and excerpts from The Best American Comics Criticism 2010 (Fantagraphics). Whether you choose to call them "comics lit," "graphic novels," or just "thick comic books," book-length narratives told in words and pictures confidently elbowed their way into the cultural spotlight in the first decade of this new millennium - beginning with the simultaneous 2001 release of Chris Ware's Jimmy Corrigan: The Smartest Kid on Earth and Daniel Clowes' David Boring, and continuing on through ground-breaking and best-selling works such as Marjane Satrapi's Persepolis, Robert Crumb's Genesis, Alison Bechdel's Fun Home, and Joe Sacco's Palestine. This renaissance in turn brought forth a chorus of critical commentary that not only addressed these recent works, but also initiated a much-needed look back at the previous century's neglected and forgotten masterpieces. This chorus, as presented in The Best American Comics Criticism, comprises both criticism (Douglas Wolk on Frank Miller and Will Eisner, Robert C. Harvey on Fun Home, Donald Phelps on Steve Ditko and Phoebe Gloeckner) and history (David Hajdu on the 1950s comic-book burnings, Jeet Heer on Gasoline Alley, Ben Schwartz on Little Orphan Annie, Gerard Jones on the birth of the comic-book business), as well as revelatory peer-on-peer essays by novelists (Jonathan Franzen on Peanuts, John Updike on James Thurber) and cartoonists (Chris Ware on Rodolphe Töpffer, Clowes on Mad's Will Elder, and Seth on John Stanley).
Review: The Art of Jaime Hernandez - 0 views
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Todd Hignite's text for the Abrams' pretty The Art Of Jaime Hernandez is like the best testimonial ever written for a fancy tribute dinner, the kind of speechifying that makes you tear up a little bit in shared love for the subject of its adoration. One reads a lot of writing about cartoonists, but very little of it makes you want to shake the writer's hand, as is the case here. The love that many comics fans have for the work of Jaime Hernandez may be unique in comics because he's an artist that brings out that emotion in people that I would suggest are largely distrustful if not outright contemptuous of how frequently such feelings are expressed on behalf of so many other artists working in the medium. Jaime is a a comics artist people that find it hard to love artists love. Further, I think that people love Jaime for all the usual reasons one may love a comics artist, and then some folks love him a little more for all the reasons they love a great artist working any medium, and then a few folks love him that much more for being the avatar of a certain kind of relationship to comics, growing in seriousness of intent and human scope just as they were ready to read stories like that.
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