Been thinking about Glen Scantlebury lately

And I can’t for the life of me decide if he’s a good film editor or a bad one

Prisoner's Daughter Review: A Muddled Attempt at Emotional Connection

In Prisoner's Daughter, director Catherine Hardwicke brings together an outstanding cast led by Brian Cox, Kate Beckinsale, and Ernie Hudson. The film revolves around a terminally ill prisoner who is granted house arrest for his final weeks to reunite with his estranged daughter and her 12-year-old son. While the cast delivers commendable performances, the film suffers from a lack of depth in its characters, an unimpressive production quality, and an overburdened narrative that struggles to maintain coherence. Although the film manages to tug at the heartstrings in its emotional third act, the overall execution leaves much to be desired. https://www.youtube.com/watch?v=zDhJSzuxEUc Let's start with the positives. The film's cast is undoubtedly its strongest asset. Brian Cox's portrayal of the terminally ill prisoner is moving and authentic, eliciting genuine empathy from the audience. Kate Beckinsale's performance as the estranged daughter showcases her talent, even though the script doesn't give her character enough substance to fully explore. Ernie Hudson, a seasoned actor, brings his gravitas to the screen, but his character also suffers from a lack of development. Unfortunately, these powerful performances cannot compensate for the shortcomings of the overall film. The film also exudes a cheap and uninspired look and feel, which might be attributed to Hardwicke's directing. Her past work, particularly the widely panned "Twilight," raises concerns about her ability to handle the emotional depth and complexity of this narrative effectively. The cinematography and production design fail to elevate the film's quality, leaving viewers with a sense of detachment from the story. One of the film's major flaws lies in its overstuffed narrative. The plotline becomes muddled at times, causing the viewer to lose focus and connection with the character's emotional journeys. Despite the commendable editing work by Glen Scantlebury and Stephanie Kaznocha, the film's disparate elements fail to coalesce into a coherent whole. Certain subplots and supporting characters appear to be shoehorned into the story without proper development, distracting from the central theme of reconciliation. Nevertheless, as the film nears its conclusion, it manages to evoke emotion during its third act. The poignant moments of a father desperately trying to reconnect with his daughter amidst the grim backdrop of pancreatic cancer effectively strike a chord with the audience. The film does succeed in making viewers feel the weight of the character's emotions, providing a much-needed cathartic experience. It is in these moments that the potential of the film's premise begins to shine through. Unfortunately, the emotional strength of the third act only serves to highlight the missed opportunities throughout the rest of the movie. If the entire film had maintained the same level of emotional depth and focus as its final act, it could have been a powerful and compelling narrative about family, redemption, and forgiveness. Instead, the disjointed storytelling and lack of character development hinder the film's ability to fully engage and connect with the audience. Prisoner's Daughter boasts a commendable cast, with Brian Cox, Kate Beckinsale, and Ernie Hudson delivering noteworthy performances. However, the film's inherent issues, including the lack of interesting character arcs, the unimpressive production quality, and an overstuffed narrative, prevent it from reaching its potential. Director Catherine Hardwicke's track record, combined with the film's weak execution, raises concerns about her ability to handle emotionally charged narratives effectively. Though the film manages to elicit emotions in its third act, it only accentuates the disappointment of what could have been a more emotionally impactful and cohesive experience. Ultimately, Prisoner's Daughter struggles to leave a lasting impression and falls short of delivering a truly compelling story of familial reconciliation and love. Read the full article

Do you believe in destiny? That even the powers of time can be altered for a single purpose? That the luckiest man who walks on this earth is the one who finds... true love?

Dracula, Francis Ford Coppola (1992)

The Cotton Club (Francis Ford Coppola, 1984).

@masonskaya

Movie #56 of 2017: Bram Stoker’s Dracula

Paris Can Wait

BB.5 (out of 5) Diane Lane has accompanied movie producer husband Alec Baldwin to the Cannes Film Festival and is now about to fly with him to the location of a film he is producing, but her earache is too painful for her to get on a plane.  They were to fly to Paris after his work duties were done anyway, so she insists he go alone and she’ll drive to the capital and meet him there since his…

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Bram Stocker’s Dracula is Francis Ford Coppola interpretation of the famous horror character. This version focus in the history of Vlad Dracula the prince of Wallachia in 1448.

The film starring Gary Oldman as Dracula receive raves reviews and impress audiences around the world for the groundbreaking visual style.

Part of the experience of this film is the editing. Nicholas C. Smith, Glen Scantlebury & Anne Goursaud cut the movie presenting beautiful visual transitions helping Coppola’s vision and storytelling.

One of my favorite transitions is the scene where Jonathan Parker (Keanu Reves) is about to depart to meet Dracula at his castle in Transylvania. The scene ends with peacock feathers covering the screen until one eye of the feathers gets centered and dissolve to a tunnel.

The transition is seamless and poetic

- What is it? - It's a robot. You know, like a super advanced robot. It's probably Japanese. Yeah, it's definitely Japanese. - What are you doing? - Really? Well, do you speak robot?

Transformers, Michael Bay (2007)

‘Tu eşti dragostea vieţii mele,...vieţii mele.’

@masonskaya

Dracula (Francis Ford Coppola, 1992).

Dracula (Francis Ford Coppola, 1992).