LIfestyles of the rich and famous - some die with a name, some die nameless

Each Day, A Film:
January 10th 2012

I love you, gentle reader. I don't know who you are, or where you are,  but If you are looking for ransom, I can tell you I don't have money. But what I do have are a very particular set of skills; skills I have acquired over a very long career wherever and whoever you are, then, well, love.

How much, you ask?

Enough to watch Green Lantern for you. That's how much.

Also because Green Lantern was only £5, but let's pretend that that's neither here nor there.




Better people than I have summarised the issues with the film, so let's get to the nitty-gritty; the problem here is, well, empathy.

Will may be the most important force in the universe viz generating green swords, guns and racetracks, but Empathy is the most important concept in filmmaking; if people don't empathise with a character, you're basically fucked.

I think this is the primary reason that a film about a newly-appointed Galactic Policeman spends the majority of it's time on Earth, with real humans and whatnot, rather than tasking the effects budget and making a space opera for real and true. The CGI - to my mind - is pretty good, especially on Oa, but it's when CGI mixes with Real Earth that things get a bit hinky, somehow.

Following on from yesterday, then, it could be said that Green Lantern is an unholy mish-mash of pure space opera, relationship drama, and Peter Saarsgard killing people with his brain. One or the other or maybe two together would make a fine film - how could a romantic comedy not fail to be livened up by telekinetics with father issues? - but all three together is just a little odd, somehow.

I don't really have that much to add except to summarise the film as ooh, pretty, so I'm afraid today's entry is a short one - but such, as they say, is life.