mannhunter a écrit : ↑26 févr. 23, 17:54Tu n'étais pourtant pas si négatif à l'époque :
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Modérateurs : cinephage, Karras, Rockatansky
mannhunter a écrit : ↑26 févr. 23, 17:54Tu n'étais pourtant pas si négatif à l'époque :
viewtopic.php?p=2467324#p2467324
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Il me semble d'ailleurs que c'était le premier film de Mann à être tourné en Scope anamorphique depuis "Heat", mais je peux me tromper
Au cas où la réponse halfordienne ne te suffirait pas (c'est pourtant limpide : la différence entre les deux versions, c'est qu'elles sont différentes), il ne faut pas confondre deux choses :
mannhunter a écrit : ↑11 févr. 16, 15:41C'est confirmé d'après les premiers retours, il y a aussi un peu plus de musique et de Tang Wei:Jack Griffin a écrit :Mystère mystère. Je pense qu'il va retoucher à l'épisode de la centrale nucléaire.
"I just returned from the first screening of the Blackhat Director's Cut at BAM, with Michael Mann introducing the film. I was a fan of this movie when it first opened a year ago, and I love this restructured version even more.
In this cut, the romance between Hemsworth and Wei is much stronger, and the characters overall are more fully defined. You know you're watching the work of a master visual stylist when you can practically feel the locations while watching the picture, and Blackhat has no shortage of incredibly memorable set pieces.
The sheer urgency and immediacy of the shootouts are as gripping as anything in Mann's filmography. The hacking scenes are beautifully filmed and visualized, and Mann's hyper-digital aesthetic has rarely felt more appropriate and essential, given the subject material. It's hacker versus hacker in the end of this picture. The film feels like it takes place in two worlds - one made up of sprawling and confusing physical geography, the other an unknowable and far advanced world that leaves the physical one muddled in chaos."
""New cut is an improvement, for sure. Opening on the floor of the empty exchange (instead of the God's eye view of the world + reactor restores/amplifies a key theme of the world running on its own, computers/machines doing everything, people at its mercy.
That also connects to the film's main visual motif, of repeated patterns/grids everywhere, which our heroes have to run against.
Additionally, the more steady build-up seems to give the supporting cast more of a chance to shine. Feels more like teamwork, now.
Original cut opened with a big boom, then de-escalated from there, which was its own thing, but this version makes more dramatic sense.
A few nips & tucks here and there also help quite a bit. We see a bit more of what Tang Wei's character does. But less backstory now.
One thing that did bother me a lot w/ original cut was how when they returned to the reactor midway, it was like no time had passed.
That's fixed now, obviously. All in all, the story feels cleaner now. That said, I don't think that people who disliked the original will suddenly start liking it now. As Mann said the other day, "It's still BLACKHAT."
""Just saw the director's cut of this and while I don't remember the original well, GOD DAMN THIS WAS AMAZING. New score by Atticus Ross was insane.""
"This is definitely an improvement over the already great theatrical cut while still essentially remaining the same movie despite many changes.New music is great"
"Very different (relatively). Entirely new scenes & scenes removed. Different opening. Action sequences the least changed. More in Wei's head
More than anything, I'm SO happy we have both cuts. Shows how much each little decision he makes means so much in the context of his films.
Starts with Soy future scenes (including new scene with ship being refused to enter Copenhagen)
reshapes the logical nature of the attacks (Money first, pumps later). Pumps to me feel like it should be the last logical step."
La balise spoiler est superflue, à mon avis.
Tiens, je trouve ces quelques secondes d'une élégance parfaite, la tonalité comme le rythme : ça commence avec l'intonation de la réponse de Jamie Foxx à la lamentation d'Alonzo :
Voilà, c'est juste cette traînée de sang que je trouve coupée une seconde (ou deux) trop courte.
Chipotons et micro-polémiquons ! J'aime beaucoup cette manière qu'a Mann dans Miami Vice de donner l'information ou plutôt le motif sans y insister, il soumet le montage du film au flux impersonnel du monde qui n'a pas le temps mais multiplie les signes de la perte que ce rythme impose. Ici cette trainée, furtive, qui capte cependant notre regard sans lui donner le temps du cliché.
oui et leur brève course dans le métro renvoie au final de "Collateral".
Il a aussi un petit quelque chose du Val Kilmer de "Heat" non?