A “bold, beautiful journey” is not from these things
If films are given degrees as skiers in shape, the imagination will start with a high classification for artistic difficulty. It is difficult to adhere to the limitations of this type, because the imagination, by virtue of the definition, is not rooted in the experience. No one lived on a far planet, in the distant future, or any place where the dragon or treatments ruled – so the glory of anyone can make such worlds really feel live. The story includes ordinary people who need supernatural help to consider and appreciate their lives. In this regard, it is linked, if it is far away, “it is a wonderful life”, even if, in line with the modern era, the angel who interferes is not an ancient paradise but rather an interactive digital device.
Colin Farrell plays David Langley, one man who lives in a city whose name is not about to drive to a wedding but finds his car covered with memory and boot. And here, he notes a suitable mark on the wall, as he announced the “car rental agency”, as if it were only one in the city. The agency is located in almost a widely empty building, where there was no type of eccentric employee-Kevin Kline-only one type of cars to rent it, which is Saturn 1994. They pay David to obtain a global GPS supplementary system, and it turns out that they contribute more than just an additional sale. The GPS (Judy Turner Smith) voice, apparently and vital to David to David to the title adventure, shares this adventure with Sarah Mairez (Margot Ruby), a woman who meets her at the wedding ceremony that leads Saturn from the same agency.
Their association at the wedding ceremony ends their fate, although it was thwarted in the short term by a group of obstacles: David was disappointed by many women; Sarah broke many men’s hearts. (She even disturbs herself as a sequential cheat.) Their journey directed to GPS is transparent to overcome their resistance to each other-by reconciling them with themselves. GPS sounds by Sarah and David through a variety of landscapes that contain magic doors that must open, pass and disappear as they cross the doorstep and appear in places and situations earlier in their lives.
These episodes, most of them from their youth and most of them are shocking, are the source of Sarah and David’s negative opinions about romance, and its senses. David returns the most detailed to David to the age of fifteen, when he was a theatrical child who is a star who turns singing and dance in high school production. A girl in the actors refused to announce love, and threw him into a permanent romantic episode. The return of the melodramism to the past, she finds Sarah at the age of nineteen, and she arrived at a hospital an hour after her mother’s long death-and blamed herself because she was an experience that made her late. When David and Sarah returned to these early experiences, the appearance of the actors did not change, but the other characters interact with them as if they were smaller publications for themselves. There are tricks, though: David meets his father (Hamish Lincalter) shortly after his birth and meets himself in a teenager (Yuvi Hecht); Sarah and David attend the same wedding twice under different sets of conditions.
These terrified intelligences in the parallel worlds brought a profitable audacity to a “beautiful, bold journey”. However, the effect is backward due to the lack of privacy, the characters are presented, whether in their current presence or in their rear stations. They are zeros, they offer Farrell and Robbie, either of Burrs and the personal fork to bring the texture, and there are no interests and activities that embody a personality. Nietzsche wrote that “the profession is the backbone of life”, but if the main characters in a “beautiful journey” are functions, they are not specified. The background, they slide through the movie as an excavation of emotion, which is not formed by a little emotion. In the introduction of David and Sarah Archetypal, the film makes it abstract and therefore illogical. Farrell and Robbie Soldier similar – as many good actors do, including Linklater, the father of David, and Leila Rap, as Sarah – who wanders in heart and soul characters. However, the mistakes of the characters do not lie in their stars, but rather.
The Kogonada profession began very distinctive in the cinema in 2012, with a series of very clear video articles on topics such as Alfred Hitchcock, Wes Anderson, Neoraleism and Yasujirō Ozu, which he founded quickly as a major figure in Cinephile Coron. (Kogunada, an American -American, adapted his nickname from the name of the Japanese screenwriter and Ozo collaborator for a long time.) Then, he wrote and directs the dramatic feature “Columbus” (2017), which is among the most prominent films in the past decade – there is only volatile drama but also a work of the science of the document. Located in Columbus, Indiana, a city known for its extraordinary concentration of distinguished modern architecture, centered around Casey, a teenage girl with a difficult family background whose aesthetic passion has woke up by the main works in the city. Kogonada has established this intellectual story in the afternoon in completely cognitive images of the city’s buildings, as if it were seen through the eyes of Casey, and the detailed and defined material reality of Casey’s internal life.
When I saw the following Kogonada feature, “After Yang”, from 2021, I was worried. It is a future story that includes a human robot that lives with (wipes) a human family, but also includes human sensitivity, which reveals itself in a rapprochement of photography. Like “Columbus”, “After Yang” was a great and emotional root in the sense of beauty; The visually obsessed robot is something for Casey. However, while the Kojunada notes in “Columbus” were filled with great architecture and the life of the city that inspires it, “after Yang” occurred in a world of criminal, which, despite the design of the studied and studied movie. The characters in the film also lack the complexities and surprises of normal life, just as the dyslexia that has been largely appointed to theoretical remains. If Kojuza wanted to raise the internal poverty of an artificial future for treatment, it has succeeded, but it was not clear whether this was intended or a secondary product of the thinness that this community imagined.