Feledés

Kosinski sci-fi világának nem lehet megbocsájtani történeti hiányosságokat, ha egyáltalán beszélhetünk hiányosságokról. A technikai és dizájnbeli tökéletességről alkotott elképzelése és a "valóság hangja" iránti ambiens érzéke annyira egyedülálló, hogy szinte lényegtelenné válik, hogy a nézőt végig kelljen vezetni a történet alakulásán. Kosinski meghaladja álmaink képzeletét. Az ő világában élni azt jelentené, hogy nincs szükségünk szaglásra. Ráadásul a Feledés filmet nem lövöldözések, hanem váratlan fordulatok viszik előre, az atmoszféra pedig a minimalista környezethez képest (a minimalista környezet alatt Izland és Kalifornia gyönyörű, kietlen külső helyszíneket értsd, ahol semmi sem villog vagy világít) fantasztikus. A medencés jelenet hang-zene elrendezése, és maga a medencés jelenet megcsinálta ezt a filmet, és engem is majdnem elkapta. Felidézve az öltözős jelenetet a Tron: Örökség filmben kezdem remélni, hogy Kosinski egy új alműfaj, a transzcendens ero-sci-fi (értsd: erekció az agyban) alapköveit rakja le. Ha egyszer a Google (és a FilmBooster) átveszi a világuralmat, az M83 fog hozzá játszani. (2013.04.16)

Joseph Kosinski. A name that will be stuck in my head for a long time. But also, a person who has managed to make me incredibly happy for the second time already by creating an absolutely great and fresh movie environment altogether with an awesome music that suits his movies well. Tron and Oblivion have a lot in common. If nothing else, the music connects the two movie atmospheres, but also the design of some of the spaceships or at least the motorcycles are reminiscent of the most recent Tron. But that doesn’t change the fact that Oblivion is still an incredibly original movie. When I put aside the story (which I didn’t have any issues with and I even liked the way it shifted interestingly halfway through the movie), I must say that I was absolutely awed by the world that Kosinski brought to the viewer. Each and every time there’s a sci-fi movie, I can’t wait to see how the authors handled an accurate description of the given era.In this case, it was marvelous and the entire post-apocalyptic world looks incredibly beautiful. Beautiful to look at, even though Tom Cruise’s character would probably slap me for writing that. In any case, the environment that Kosinski created is just awesome. And the most amazing thing about it was the fact that the CGI is barely noticeable. It all seemed very natural. And don’t even get me started on Tom Cruise who has once again played an incredibly amazing character that I’ll always remember when I think of him from now on.But he wasn’t the only intriguing actor. For example, Andrea Riseborough who I wasn’t familiar with up until now made me really happy and Olga Kurylenko surprised me, too. Somehow, the actresses look somewhat… perfect throughKosinski’s camera. And the story? Don’t get mad at me, but I just thought it was original. I like that it doesn’t try to push the typical Hollywood storyline and it marches to the beat of its own drum.In the very first scene, Tom almost ends up in a thrall of his enemy, but he does his routine and he goes back to his base to relax. The viewer almost feels like they’re not watching a movie but rather a life of someone in an alternative future reality. And I must say that Oblivion was an extraordinary cinema experience. Anda big part of that was thanks to the music that hasn’t been this good in a very long time. (2013.05.13)

Kosinski is still a much better designer than the narrator, but I'm quite pleased that, unlike Tron, the action scenes have massive energy. What are still miserable are the dialogues, especially the key ones, cut boringly in shots / counter-shots sequences. It feels like there was a comic book first. Kosinski sculpturally frames the characters somewhere and then lets them chant a text, which unfortunately lacks speech bubbles for being iconic and striking. Like all of the objects in Oblivion, the actors act more for aesthetic purposes. And you know what? I don't give a fuck. The scale is epic, clean and shiny, the clinical and illuminated visual is breathtaking in every detail, the hypnotic sound waves of M83 give it an inconvenient depth... I consider the first half an hour or so to be the captivating audiovisual trip that I expect from current sci-fi films (and usually don't get). As soon as the inevitable comes along and the story unfolds, Oblivion drowns in the familiar twists and unfinished ideas (will anyone pay Duncan Jones his royalties?)... but the action goes away, the image is overflowing with the sort of pomp I haven't seen in a long time (forget the experiments by Prometheus that are short of breath) and those few noticeably unsuccessful attempts to "make a thrilling story" will be destroyed by the bulldozer of the ultimate design. Finally, I understand what some viewers liked about Tron - Oblivion is also a brilliantly designed "sci-fi musical", this time with music that drew me in and sometimes, in collaboration with the image, gave me a taste of unadulterated euphoria from the big screen. It can be seen that it was supposed to be / wanted to be more than just a breathtaking spectacle, that someone wanted to move the promising indie trend of intelligent sci-fi to a blockbuster format and buried it with "fanzine" storytelling... but sometimes even a failed intention can offer enough space for spectator delight. Oblivion and I are an effective team. [75%] (2013.04.15)

What’s more important for a film, to tell a story or to visualise it? Both are, no doubt; there’s no objective answer, and yet, in the lay debates among film fans the prevailing idea is that an exceptionally narrated story = elaborated art, and perfect visuals = just expensive commerce. That’s often the case, of course, but we shouldn’t generalise. Oblivion is a film with amazing visuals, with this I don’t mean that it “looks expensive”, I’m judging the aesthetics of images and scenes – the swimming pool scene will be one of the highlights of the year. To some extent, it’s similar to Prometheus – you can pick on the details of the story until the end of days, if that’s your thing, but the source of an aesthetic experience lies elsewhere, as does the source of an intellectual one. Oblivion is smart sci-fi (actually, there hasn’t been such pure sci-fi for a long time, fans of Clark must be happy!) that in its higher level offers a lot of food for thought – the good side of all proper sci-fi, greetings to Star Wars… :D PS: I want Kosinski to adapt “Rendezvous with Rama”!!! (2013.04.21)

The main reason that Oblivion will fade from the viewer’s consciousness faster than TRON is not that Kosinski steals from his colleagues (Stanton, Jones, Lawrence, Trumbull, Kubrick, the Wachowskis), thus making it apparent how inferior he is as a storyteller, but that he steals from himself. The original wow effect is diminished significantly by the repetition of the same approach, especially in a world without the possibility of “edit levels”, which was a boon for video-game designers and fans. However, that effect was powerful enough to keep me entertained for the whole two hours, intoxicated by the film’s audio-visual perfection. Kosinski’s nerdish approach to the characters makes a human a bearer of meanings comparable in value to a robot, landscape or piece of furniture (while being at the same level with his significantly limited use of common sense). The geometric compositions of the shots, whose actual content becomes less substantial than the surface message, are more important than words and emotions. Everything and everyone serves to complement the overall design, to which the protagonists’ motivations and the direction of the plot are subordinated. The final scene, which shows us that we have probably misdirected our emotions, can be understood as a mockery of the standard “entry” into the story through identification with the characters. Kosinski is uniquely capable of connecting movement with sound, which is “applied” to the picture in individual layers, and the result is the same as in TRON, a mainstream variation on an audio-visual symphony. The plot is a bit too much, though without it (and without Cruise and his varying uncomprehending expression) a $120 million project like this  would not have been made. However, I wouldn’t underrate the film as a whole because of its lifeless characters, unoriginal subject or illogical actions, because on another level it offers an inspiring statement on the current social reality of efficient working teams, to which people devote themselves to such an extent that they lose their identity in them together with their ability to live authentically. The first half of film, devoid of plot (and thus better), with its parody of the perfect partnered relationship and its depiction of a work activity that involves only maintenance with no particular goal or chance of real (and potentially dangerous to the system) change of conditions, says more about today’s world than many art films with an uglier design. And Oblivion is definitely a film made for IMAX! 80% (2013.04.15)