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how now moon-calf I'd read some negative reviews of the movie Underworld, but I didn't mind it when I got done watching it this morning. In fact I liked it better than the second and third Matrix films, which other people said it was emulating to some degree. I can see the parallel in terms of stunts, but Underworld wasn't nearly as pretentious as the Matrix trilogy. Something about the overall look of Underworld really appealed to me and this is something worth mentioning, because I can barely tolerate the whole vampire genre. The somber blue hue and fluidity of the characters movements all made sense to me. To put it another way, the movie had style, which is so often lacking in today's movies. Plus it was nice to see Kate Beckinsale in a different role than the one that she had in Pearl Harbor. ... Early this afternoon I saw a production of The Tempest for the very first time and it was time well spent. Having front row seats probably also helped make the performance that much more impressive to me. Miranda, Prospero and Caliban were all within in arms reach of me and I'll remember what I saw for a long time. There was no squinting on my part to make out the facial expressions. It was all right in front of my face. I was there on the edge of the action instead of sitting further back in the dark watching them move to and fro across the stage. Immediately in front of me was the deck of the ship that brings the secondary characters to the island where Prospero is waiting for them. If I wanted, I could have rested my feet on the deck, but I didn't. In the background carved into a rock wall was the home where Prospero, Miranda and Caliban dwelled. Then in between was open ground for the larger groups to congregate in certain scenes. It was a simple yet effective setting. Despite an overly long blonde wig, Miranda was well cast, but she was secondary to Prospero who was the best member of the cast. His look matched my mental image of the character and he was someone that I wanted to listen to for as long as possible. |