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?
Group items tagged
drawn and quarterly - 0 views
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With cartoonists that have been instrumental in defining the literary comics medium for the past twenty years and a willingness to experiment with formats and concepts, Drawn & Quarterly has become one of the most influential art and literary comics publishers in North America, if not the whole world. Back in 1989, Chris Oliveros humbly went in search of artists to contribute to his yet-to-be-published magazine anthology named Drawn & Quarterly. Armed with a honed aesthetic, he advertised in different venues and approached promising artists. As a result, Oliveros assembled the most esteemed and distinct coterie of cartoonists since the days of Art Spiegelman's RAW. Oliveros's visual acumen and astute production values coupled with the complete editorial and creative freedom offered to the cartoonists enabled D+Q to make an immediate mark in the world of comics. After several anthologies, comic book series and graphic novels, D+Q has established an elite and varied roster of cartoonists that includes Adrian Tomine, Seth, Chester Brown, Joe Matt, Julie Doucet, and James Sturm, who are considered to be some of the medium's best and are synonymous with Drawn & Quarterly. Big Questions, Or Else, Optic Nerve, Berlin and Atlas have joined Peepshow and Palooka-Ville as D+Q's current ongoing comic book series. Exquisitely designed sketchbooks by iconic luminaries R. Crumb and Chris Ware joined sketchbooks by Julie Doucet and Seth. Graphic novels include war comics-journalism from Joe Sacco, travelogues by Guy Delisle, a charming teenage memoir by Michel Rabagliatti and translations of European masters Igort, Baru, and Dupuy & Berberian. The original magazine anthology became a lavish, oversized, coffee table annual. D+Q has also engaged in ambitious reprint projects, including the work of Frank King, Tove Jansson (Moomin), and Yoshihiro Tatsumi. Book lovers, who appreciate exceptional quality in literature and design, laud D+Q for creating elegant objects that transcen
drawn and quarterly - 0 views
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With cartoonists that have been instrumental in defining the literary comics medium for the past twenty years and a willingness to experiment with formats and concepts, Drawn & Quarterly has become one of the most influential art and literary comics publishers in North America, if not the whole world. Back in 1989, Chris Oliveros humbly went in search of artists to contribute to his yet-to-be-published magazine anthology named Drawn & Quarterly. Armed with a honed aesthetic, he advertised in different venues and approached promising artists. As a result, Oliveros assembled the most esteemed and distinct coterie of cartoonists since the days of Art Spiegelman's RAW. Oliveros's visual acumen and astute production values coupled with the complete editorial and creative freedom offered to the cartoonists enabled D+Q to make an immediate mark in the world of comics. After several anthologies, comic book series and graphic novels, D+Q has established an elite and varied roster of cartoonists that includes Adrian Tomine, Seth, Chester Brown, Joe Matt, Julie Doucet, and James Sturm, who are considered to be some of the medium's best and are synonymous with Drawn & Quarterly. Big Questions, Or Else, Optic Nerve, Berlin and Atlas have joined Peepshow and Palooka-Ville as D+Q's current ongoing comic book series. Exquisitely designed sketchbooks by iconic luminaries R. Crumb and Chris Ware joined sketchbooks by Julie Doucet and Seth. Graphic novels include war comics-journalism from Joe Sacco, travelogues by Guy Delisle, a charming teenage memoir by Michel Rabagliatti and translations of European masters Igort, Baru, and Dupuy & Berberian. The original magazine anthology became a lavish, oversized, coffee table annual. D+Q has also engaged in ambitious reprint projects, including the work of Frank King, Tove Jansson (Moomin), and Yoshihiro Tatsumi. Book lovers, who appreciate exceptional quality in literature and design, laud D+Q for creating elegant objects that transcen
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.
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Contains an interesting discussion of what happens when a comic is adapted into a movie. Specifically "300," in 2007.
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Internet Movie Database for "300." Contains comments on the adaption of the comic/GN to the big screen.
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