grinder Deliberately set out to subvert audience expectations for traditional sports biopics. Benny Safdie's first big screen solo project without his brother and frequent co-director Josh (Benny also co-created the Showtime series curse A glimpse of what is now known as hybrid martial arts, with Nathan Fielder, is neither inspiring nor tragic, nor creed nor Iron claw. Instead, it is a flawed but admirable athlete role study, in the context of rapidly developing extreme sports.
first, grinder It is a showcase for its star Dwayne Johnson, whose own history as a professional wrestler is an incalculable part of the screen roles he has created over the past decade and a half: Genial Action Hero, a reliable driver who drives a fast car, and a clichéd but undefeated father. Johnson reveals a new dimension of himself as an actor when he chooses to play a darker, more turbulent, less heroic role than he has ever played. Safdie's script is sadly avoiding sentimentality and stirring up emotions that it makes its cards too close to the vest and never really gives a star or a movie, and it's a chance to throw away his stuff.
grinder Also titled for the 2002 HBO documentary directed by John Hyams, Safdie takes some visual habits of non-fiction filmmaking and tells the true story of both films, namely the ultimate battle star Mark Kerr. The handheld camera (photographer is Maceo Bishop) bob and knitted over the ring, occasionally amplifying the reactions of the faces in the crowd. When we observe Mark and his opponent interacting outside the ring, in the locker room and corridors of the stadium where they fight, what we don't want to see is a feeling of eavesdropping. In line with the gritty, growing style of 1970s films, Safdies records are fond of in the record – Crime Drama Dog Day afternoon,,,,, France Connectionand Taxi driver–grinder Avoid traditional Hollywood Polish. Although Johnson could have had a facial prosthesis throughout his life, his signature bald dome wore a curly black wig, the camera still had a naturalistic feeling, like the camera explored his vast body mountain covered with sweat, stubble, scars, scars, often fresh pins and peels as he suffered in punishment.
In a game early in the film, the formerly unbeaten Mark lost a match after his opponent took a particularly cruel move, and the tournament organizers just announced the line. After Mark filed the complaint, the loss was reclassified as a “no decision result” – and nonetheless, the result seemed to send super competitive athletes into opioid addiction and misplaced anger. Although he never physically threatens his home girlfriend Dawn (Emily Blunt captured by glittering glue), Mark is not storming a door in half with a huge fist when he is angry. When Dawn finds him unconsciously on the floor of their appointed residence in Phoenix, he finally agrees to enter the recovery. But when he returns to a partner’s home, his newfound sobriety is threatened, and despite her attempts to be her support, he also tests his determination by continuing to go out with his friends to drink.
Dana Stevens
Movie of the Year is here
Read more
Meanwhile, Mark's old training partner and long-time best friend Mark Coleman (Ryan Bader, real-life MMA fighter) is on the sport's star. Mark is determined to start training seriously with the legendary former champion (Dutch-American mixed martial artist Bas Rutten) and after several years he is ready to regain his place in the fields. In Japan’s Championship, these two friends who have never met on the field seem destined to finally find themselves playing the game opposite the head.
Adding documentary-like textures to the documentary-like textures of the game sequence is a deep substitute for real-life MMA fighters playing their own fictional version. Safdie tends to cast non-actors with experienced screen performers, a common choice in the films directed by the brothers. Rutten is memorable and tender as the veteran coach suffers regularly from his old fight injury. But Bader plays a major role, and while his emotional warmth and deep loyalty are crucial to the film’s story, it’s hard to communicate more than just the affinity of the generic “Love Ya, Bro”.
Safdie insists on separation, or is it alienated from itself? – The usual focus in such a film makes the audience struggle to find elements of the story to which it is connected. Drag the fight in trivial disputes when Mark and Dawn are involved in the knockout round – does she put whole or skim milk in his pre-training smoothie? Was he complaining about her trust by summoning his AA sponsor because she complains about her while standing in the earmuff? This battle scene is also displayed from such a deliberate angle – most of the cameras are outside the ropes and rarely cut to Angry bull– A close-up of the fighter's abused faces – I found myself considering more about the sport's evolving rules in the period in which the film took place (1997-2000) than who would win every game.
It seems to me that the work of Safdie Brothers has always begun with the principle that one of the highest goals of the film is to successfully transfer the anxiety of the film's characters to the audience. Good times and Uncut gemstones Both have a definite impact on me: I feel uneasy and a little sick as the closing credit rolls, being caught by the protagonist’s inner state of trouble, even though I’m confused by what the whole movie tries to say. Benny Safdie's first solo film deserves praise, exploring different psychological fields. Instead of putting us in Mark's brain, he deliberately frees us from the innerities of the characters and actors.
-
The greatest picture book of the century
-
What exactly is it A battle about? Seeing it twice provides some answers.
-
A new show believes that one of the people behind a butcher brand in beer is gay. But has his affairs really almost destroyed the company?
-
Rock's new movie is his big Oscar series. There is a problem.
Johnson was buzzing in an Oscar-nominated gun shot. Indeed, the Academy likes to make radical changes through prosthesis, and two-time Academy Award winner Kazu Hiro (The darkest moment,,,,, Bombshell,,,,, master), is an exception. But playing a famous and charming former wrestler, a famous and charismatic hybrid martial arts artist, is really “far from self”, using a performance school phrase? When Johnson buried his face in his hands and sobbed after Mark’s first failure in the ring, it initially felt as if we might have a glimpse of his seemingly indestructible appearance, which is a crack in the rock. But Safdie's camera and movie sympathy remained lasting, covering up what was happening inside Mark's huge skull more effectively than his dinner-sized hand. When Kerr in real life appears to play himself in a curious last scene, he even says goodbye to the audience in a confused way to the fourth wall, the audience is in awe of how Johnson accurately captures the body of a real fighter or embodies the accuracy of the inner spirit. Instead, we don't know who these two men are, and the film has greater awards and box office potential, why should we care.