No.428
What makes a film good in your opinion?
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No.430
Catharsis and 'sthetics
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No.432
tight writing
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No.434
Good writing, good cinematography, appropriate pacing, and a solid premise (I wouldn't say plot, since there are movies like the ones of Tarkovsky and Lynch which aren't too plot-focused).
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No.446
good cinematography, atmosphere and conveyance of emotion, basically films that stick with you both visually and emotionally and have you thinking for a while.
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No.1033
>>428deep interesting story
HIGH amount of details
interesting characters that feel real and not like actors
made for smart people
movie is fun
good script for people's dialog
not too slow like boring movies, not too fast like junky action movies.
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No.1048
It made me feel things while I was watching, that's roughly the only criteria.
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No.1050
I don't have a criteria.
If I like a film, It's a good film.
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No.1362
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No.1363
cinematography and soundtrack
literally all i care about, it could be utter shit but if its good in those two areas its watcheable
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No.1366
A good film is one that completely changes my world view. I want a film to culturally and emotionally enrich me.
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No.1368
>What makes a film good
A good filmmaker. Hardy Har Har
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No.1371
Makes me think, makes me feel something. Craft serves the material and elevates it. Bonus if it compels me to watch it again, considering my backlog.
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No.5384
>>1366
>world view
Can't you just say outlook or perspective? These words already exist you know. No reason for another that means the same thing. It's very toxic and problematic.
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No.7233
If it blends it's good innit.
But I've yet to find a movie that that was good without having great sound. Well that's not entirely true, many silent films are truly great.
But I would propose that in this current decadence of modernity sound is ironically the most important aspect of any movie.
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No.7234
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No.7238
>>7233
> great sound
do you mean foley or music or what?
> Well that's not entirely true, many silent films are truly great.
yes but 99% of the time they aren't truly silent .. the music is constant
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No.7820
>It's not exciting
>There is alot of soft, dark lighting
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No.7821
Like all else that is good in the world.
Gestalt.
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No.7836
>>428
must capture your attention, your imagination, and be beautiful to look at
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No.7837
Great pacing and cinematography with dynamic perspective.
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No.7849
It's a difficult question, I suppose it is down to 3 things, 1; the director's power to imagine and faithfully translate their view of 2; the concept, and then 3; my ability of appreciation.
If 1 and 2 concur, it's a good film. If either of those concur with 3 then it's going to be judged a good film.
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No.7911
It makes me feel something on an emotional level.
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No.8010
nothing, all films are shit
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No.8011
it makes me feel emotions I don't necessarily have a word for
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No.8013
>>8010
oh come on now
what DO you like?
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No.8969
I have only two criteria for judging the entertainment value of all works of fiction whether they're novels, plays or movies: Does the work of fiction present the extraordinary to me, and is the work of fiction believable?
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No.9086
>>428
Everything great about this film here is what I consider to be the gold standard for cinema.
And before you start flaming me for praising the Wachowskis so highly, need I remind you all that Tom Tykwer was the main director of this film? The Wachowskis only directed the visuals.
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No.9089
>>9086
As someone who loves this movie as well, why do you have to knowingly lie to convince yourself and others that it's only good because Tykwer. He directed 3 parts and the Wachowskis directed the other 3 (all the ones requiring visual effects).
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No.9098
>>9089
Dude, have you even seen the Wachowskis' track record recently? Have you seen fucking Jupiter Ascending?? I feel serious shame associating myself with them for so many reasons.
Figures they'd direct the Neo Seoul sequence, and maybe the Hawaii 2346 sequence, but I'm blanking on the other one. Sauce plz?
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No.9102
>>9098
Yes, I'm quite aware of their track record. I have a different outlook on Jupiter Ascending but that's another matter. I personally think they're great and misunderstood (especially regarding the Matrix trilogy), but they have indeed fallen since Cloud Atlas.
From wiki: Although they shot scenes all three together when permitted by the schedule, the Wachowskis mostly directed the 19th-century story(Ewing) and the two set in the future(Sonmi, Zachry), while Tykwer directed the stories set in the 1930s (Frobisher), the 1970s(Luisa Rey), and 2012 (Cavendish).[32]
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No.9106
>>9102
Huh, I guess you have a point there... It's just that I've started to question just how good they actually are ever since the Nostalgia Critic's Matrix Month, where he had some pretty harsh criticisms of the Wachowskis' work. I had SO much hope in Jupiter Ascending, but it was such a massive disappointment (to say the least, anyway) that it left a very negative impact on me regarding the image of the Wachowskis.
Now that I hear they objectively directed exactly half of Cloud Atlas, I'm seriously reconsidering my previous stance on them. What should I do to appreciate them more?
Just another thing to add, the most recent Wachowski film I saw was Speed Racer, and it honestly wasn't as bad as everyone made it out to be. It's a more faithful adaptation of the anime than people give it credit for, except for Sparky, who they seriously underplayed. I guess that's a step in the right direction to appreciating them more?
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No.9107
>>9106
I don't know if there's anything you can really do to appreciate them more... I think they're one of those directors where you either get them or you don't. I was hooked with them since the Matrix Trilogy. I've heard every single complaint in the book about those sequels but none of them really held any weight to me , it was often just a misunderstanding on their part of what was happening. Maybe that's the issue -- a misunderstanding? I don't know. Give them another shot if you think you're up for it.
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No.9111
>>9107
I'd most certainly love to give them another shot, but considering I've pretty much seen all their films at this point, I don't know how I'd go about doing that. I appreciate the help though, anon. Thank you kindly.
I kinda understand how the complaints about the sequels don't hold any weight for you. That very same case applies for me and the Pirates of the Caribbean trilogy- emphasis on trilogy, the fourth one sucked. Dearly hoping the fifth one is great... but I digress. For me, though, I appreciate Matrix Reloaded for how it one-ups its action sequences, which make it hella entertaining despite some of the sillier stuff there. Matrix Revolutions fell flat for me, and what should have been top-tier epic felt dull and hammered in. That's just my take on it, though. I still appreciate what they were trying to do, except the whole Machines thing always felt like they were ripping off Skynet from the Terminator movies. At least the angle was different enough for it to work as its own thing.
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No.9136
YouTube embed. Click thumbnail to play.
>>428
I enjoy movies that take advantage of the emotional capacity of man. The director is supposed to also direct how you feel, which is a misunderstood concept in modern Hollywood. Take Jaws for example. This is one of the most well-crafted scenes that exists in cinema because the audience is in tune with Brody's emotions even when not focused on him. Brody is thinking about the shark, so uncertainty is carried throughout the entire scene with several false alarms that temporarily relieve the audience of constant stress and reminds them to be vigilant. The audience starts to doubt the notion that a shark will appear at all once the wife starts to reduce tension, that is until the dog goes missing. Then the music starts to play and the shark claims it's second victim with a shocking amount of ferocity. The audience, like Brody, doesn't fully process the situation until the most elegant dolly zoom I've ever seen. I could go on and on about how fantastic this scene is and how much I appreciate Spielberg for using the deaths as devices to progress the story rather than get emotionally mixed up in them or how useful emotional capacity is in conveying abstract ideas to an audience through experience rather than explaining it, but I've made my point. Literally every movie should do this regardless of whether it's for critics or casuals.
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No.9145
The best Wachowski film is actually Speed Racer.
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No.11249
No reason really. If I get something out of it I like it.
>>9136
You're basically describing tension build-up and a resulting realization. Structurally it is impressive, especially for the time. I'm not a fan of Spielberg though.
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No.11306
A good film is a good film. A snuff film shot on 8mm film could be kino if it stirs a unique emotional response from the viewer.
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No.11309
>>9145
True.
I wonder if they're going to make a remaster of this movie in 4K or something like that, it would be a blast to watch.
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