Most people dislike this movie because of the ending. That is because of their own limited imaginations, a point I think Richard Donner was trying to make throughout the movie. They try to criticize the film on their own miotic interpretation. Americans aren't used to the subtle, especially from the Lethal Donner. I think those people need to watch it again, and especially pay attention to the narration. Truth is in the mind of the beholder. The movie is about the innocence of childhood- the grandness of being naive and imaginative-being ripped apart by an abusive adult. Just as they never REALLY seen the boogie man, Bobby never REALLY flew away. Mike deceived himself into believing that his brother flew away to hide from the fact that his brother died. Listen to his words, and watch his mother. It is very subtle, and I have had this argument 100 times before (see, I have only had it probably 5 times but I have deceived myself into thinking it is many more). Don't feel bad. I have found that only 1 out of 10 people that have seen the movie
Reviews
3 Reviews
Neon Genesis Evangelion
(1995–1996)
A powerful piece of cinema.
1 February 1999
"I mustn't run away. I mustn't run away. I MUSTN'T RUN AWAY!" This is the defining line for Shinji Ikari in NEON GENESIS EVANGELION. Throughout this remarkable series, Shinji must confront his fears, his father and ultimately himself. What sets this human drama apart from most films is its location. Set in futuristic Tokyo 3, Evangelion is filled with enormous mechanized robots called Eva units, monsters in the form of Angels bent on destroying the city, skyscrapers that retract into a large cavern-or Geofront-suspended above a secret organization named Nerv, which it seems is responsible for saving the world from the Angels who seek to destroy it.
The series features Shinji, a fourteen-year-old boy who doesn't recognize his own self-worth. His father, who abandoned him when he was a child, summons him to reluctantly pilot an Eva Unit against the attacking Angels. Capitulated into the heat of battle without any briefing or training, he nearly dies. But through his sheer innate will, he defeats the Angel. Eventually, he identifies himself as a pilot, not out of any valor, patriotism or heroism on his part, but because it is expected of him and he enjoys the praise it affords him. He is then given into the custody of Misato Katsuragi, a beautiful, hedonistic twenty-eight year old Commander at Nerv.
Shinji is accompanied by two classmates and fellow pilots, Rei Ayanami and Asuka Langley Soryu. Rei embodies Shinji's lack of self-esteem since she actually has no esteem, viewing herself as replaceable. She is merely a doll-a tool to be used by Nerv. She lacks human emotions, but is hardly a shallow character. Devoid of emotion, she still exhibits motherly traits. Asuka, on the other hand, represents Shinji's pride and strive for perfection. She is haughty, letting all know that she is an Eva pilot and is undeniably top gun. However, when she fails or is shown up by Shinji, she simply quits and withdraws.
EVANGELION takes an unusual philosophical and psychological slant on its storytelling. It is too introspective to be seen as another epic. The series back and ponders deeper things, like what is our purpose on Earth?; where do we go from here?; and what are our motives for doing what we do? EVANGELION employs some fascinating direction by occasionally stopping all action for minutes at a time and focusing on a single shot, creating an emotional, negative space that is usually a neglected factor in a majority of motion-pictures today. This amazingly visual series also confronts the viewer withn multiple viewpoints, asking what characters are morally correct.
Filled with biblical references to Angels, like Adam (the first angel) and Eva (Eve), EVANGELION absorbs historical fanatics. EVANGELION is a witty parody of everything. From standard anime - mecha, androgenous characters and giant monsters, to references to Dante's' Inferno and Milton's Paradise lost, EVANGELION a satire that convinces its audience to take it serious. Remarkably, the audience doesn't laugh when they realize that the Eva units are powered by extension chords but instead accepts it.Even the year it takes place in is a pun off the Mayan calendar, which foretells the end of the world in 2015. Not only is the show detailed in its research, it also sports a cast of minor characters that break every convention. No one is an extra. EVANGELION reminds us that everyone has a story.
The series is so complex that it is easy to forget that it is animated. It is told in 26 episodes and three movies. Regardless of your taste in film, there is something for everybody to walk away with, whether you are interested in philosophy, psychology, religion, conspiracies, the end of the word or simply enjoy watching big robots smash stuff.
The show was created by Gainax (WINGS OF HONEAMISE, NADIA, GUNBUSTER) and is beautifully animated, with inspired mecha designs by Ikuto Yamashita and superb direction by Hideaki Anno. The music is brilliant, and at times is sensually overwhelming, NEON GENESIS EVANGELION is definitely a series that exhibits the true power of animation.
The series features Shinji, a fourteen-year-old boy who doesn't recognize his own self-worth. His father, who abandoned him when he was a child, summons him to reluctantly pilot an Eva Unit against the attacking Angels. Capitulated into the heat of battle without any briefing or training, he nearly dies. But through his sheer innate will, he defeats the Angel. Eventually, he identifies himself as a pilot, not out of any valor, patriotism or heroism on his part, but because it is expected of him and he enjoys the praise it affords him. He is then given into the custody of Misato Katsuragi, a beautiful, hedonistic twenty-eight year old Commander at Nerv.
Shinji is accompanied by two classmates and fellow pilots, Rei Ayanami and Asuka Langley Soryu. Rei embodies Shinji's lack of self-esteem since she actually has no esteem, viewing herself as replaceable. She is merely a doll-a tool to be used by Nerv. She lacks human emotions, but is hardly a shallow character. Devoid of emotion, she still exhibits motherly traits. Asuka, on the other hand, represents Shinji's pride and strive for perfection. She is haughty, letting all know that she is an Eva pilot and is undeniably top gun. However, when she fails or is shown up by Shinji, she simply quits and withdraws.
EVANGELION takes an unusual philosophical and psychological slant on its storytelling. It is too introspective to be seen as another epic. The series back and ponders deeper things, like what is our purpose on Earth?; where do we go from here?; and what are our motives for doing what we do? EVANGELION employs some fascinating direction by occasionally stopping all action for minutes at a time and focusing on a single shot, creating an emotional, negative space that is usually a neglected factor in a majority of motion-pictures today. This amazingly visual series also confronts the viewer withn multiple viewpoints, asking what characters are morally correct.
Filled with biblical references to Angels, like Adam (the first angel) and Eva (Eve), EVANGELION absorbs historical fanatics. EVANGELION is a witty parody of everything. From standard anime - mecha, androgenous characters and giant monsters, to references to Dante's' Inferno and Milton's Paradise lost, EVANGELION a satire that convinces its audience to take it serious. Remarkably, the audience doesn't laugh when they realize that the Eva units are powered by extension chords but instead accepts it.Even the year it takes place in is a pun off the Mayan calendar, which foretells the end of the world in 2015. Not only is the show detailed in its research, it also sports a cast of minor characters that break every convention. No one is an extra. EVANGELION reminds us that everyone has a story.
The series is so complex that it is easy to forget that it is animated. It is told in 26 episodes and three movies. Regardless of your taste in film, there is something for everybody to walk away with, whether you are interested in philosophy, psychology, religion, conspiracies, the end of the word or simply enjoy watching big robots smash stuff.
The show was created by Gainax (WINGS OF HONEAMISE, NADIA, GUNBUSTER) and is beautifully animated, with inspired mecha designs by Ikuto Yamashita and superb direction by Hideaki Anno. The music is brilliant, and at times is sensually overwhelming, NEON GENESIS EVANGELION is definitely a series that exhibits the true power of animation.
Pulp Fiction
(1994)
Vulgar and debased.
25 November 1998
Pulp Fiction is about a cast of vulgar, disgusting characters and their debased lives. This film centers around four different stories; two hit men accidentally shoot preteen informant in the back of their car, a boxer that refuses to throw a fight, and a doped upped hit man takes his drug dealing pimp daddy's coke head wife on a date and a hit man is `saved'. The stories are separate but come together like a bad episode of Seinfeld. Just to be cool and `avant-guard' Tarantino picked up his script and shuffled the pages together, added a thick smattering of pop culture riddled dialogue, and plagiarized every movie ever made.
There is not one redeeming character or idea in this movie. Most hail it as deep, but but that is only because they are shallow. I have questioned many of the film's devotees as to why they like it, but they can scarcely say more than `its cool' or they comment on it being glamourous-$500 cocaine baggies of heroin and $5 milkshakes. On its own terms, the movie is poorly crafted. Its much appraised non-linear story line is nothing new. Orson Wells challenged that institution 50 years ago with Citizen Kane. This doesn't enhance the story at all, except blunting Vincent Vega's (Travolta) pointless demise. He is alive when the credits roll, so he essentially avoids the repercussions of his actions. And finally, Jules' (Jackson) misquoting scriptures and misapplication of the text was highly annoying. Besides, because he `found God', he is absent when his partner needed him the most. So by Tarantino's definition, God is as debased as the characters portrayed in this horrible movie. The only thing that is redeeming in this movie is the soundtrack. Maybe Tarantino should have been a DJ.
There is not one redeeming character or idea in this movie. Most hail it as deep, but but that is only because they are shallow. I have questioned many of the film's devotees as to why they like it, but they can scarcely say more than `its cool' or they comment on it being glamourous-$500 cocaine baggies of heroin and $5 milkshakes. On its own terms, the movie is poorly crafted. Its much appraised non-linear story line is nothing new. Orson Wells challenged that institution 50 years ago with Citizen Kane. This doesn't enhance the story at all, except blunting Vincent Vega's (Travolta) pointless demise. He is alive when the credits roll, so he essentially avoids the repercussions of his actions. And finally, Jules' (Jackson) misquoting scriptures and misapplication of the text was highly annoying. Besides, because he `found God', he is absent when his partner needed him the most. So by Tarantino's definition, God is as debased as the characters portrayed in this horrible movie. The only thing that is redeeming in this movie is the soundtrack. Maybe Tarantino should have been a DJ.
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