In short, the expected mega-blockbusters were indeed mostly mega-blockbusters, the expected middle-of-the-road hits were just that, while the films pegged most likely to flop or at least financially disappoint did just that.
Any man who serves me Edna St. Vincent Millay with a shot of Jim White and dashing references to New Order, Robert Johnson, Astral Weeks, and The Cure, needn't bother with "hello." I surrender utterly.
"If there's any way to sort of distilling Once: The Musical into anything, it would have to be the presence of hope -- the idea that if you remain open, you can enter into these beautiful relationships and friendships."
The Prometheus of Greek myth was the titan who stole fire -- and a love of science and the intellect -- from the gods of Olympus. If Ol' Pro' saw this eponymous film, he might keep the fire but give the rest back.
El Boyfo was being sweet. He wanted us "to discover it together." I, on the other hand had little interest in sweet mutual discovery. Our first Prometheus spat launched when he realised that I had no intention of allowing days to go by with me twitching until our iMax trip.
David's final act before his injury also demonstrates his hunger to be praised. We don't really know what he says to the Engineer, but, like Lawrence, he suddenly bears the burden of a translator/communicator between two cultures.
The Los Angeles Film Festival kicks off this week downtown with an eclectic slate of alternative stimulation. Run by Film Independent, the LAFF has a more chill, familial air than Sundance, and unlike Sundance, you can usually get tickets.
It's about a lot of things. The beginnings of life. Man's place in the universe. But most importantly, it's about Scott returning to the genre he served so well and that in turn served him so well, to prove he still has what it takes to make his mark.