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Recent Headlines
a la Mod:

Domino is
a "disarmingly
straight-forward"
work that "pushes
us to reexamine our
relationship to images
and their consumption,
not only ethically
but metaphysically"
-Collin Brinkman

De Palma on Domino
"It was not recut.
I was not involved
in the ADR, the
musical recording
sessions, the final
mix or the color
timing of the
final print."

Listen to
Donaggio's full score
for Domino online

De Palma/Lehman
rapport at work
in Snakes

De Palma/Lehman
next novel is Terry

De Palma developing
Catch And Kill,
"a horror movie
based on real things
that have happened
in the news"

Supercut video
of De Palma's films
edited by Carl Rodrigue

Washington Post
review of Keesey book

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Exclusive Passion
Interviews:

Brian De Palma
Karoline Herfurth
Leila Rozario

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AV Club Review
of Dumas book

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De Palma a la Mod
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Saturday, September 26, 2015
STEPHANIE ZACHAREK ON 'THE MARTIAN' & 'M2M'
"DE PALMA APPROACHED SPACE AS A MYSTERY, A PROBLEM BEAUTIFUL IN ITS VAST UNSOLVABILITY"


Stephanie Zacharek reviews Ridley Scott's The Martian at The Village Voice
Scott orchestrates all of this like a pro. Two of his last three movies (Exodus: Gods and Kings and Prometheus) were so grand in scale that making this one probably wasn't a leap. He's workmanlike in his approach to science, which always trumps magic in The Martian — that's the point. But if we can't feel a sense of wonder at the magnitude and mystery of space, why even bother? In 3-D, at least, The Martian is handsome only in a perfunctory way: As with so many 3-D movies — Hugo and Gravity are exceptions — its hues look somewhat anemic and drained. (Stills from the film look brighter and richer, suggesting it might be best viewed in 2-D.) Even Mars's craggy landscape is less than vivid. Portions of the film were shot in Wadi Rum, in Jordan, but cinematographer Dariusz Wolski fails to make this desert landscape look otherworldly — the Death Valley of so many B westerns looks more mysterious and threatening.

Or, flipping to a more recent reference, what about the satiny red sandscape of Brian De Palma's 2000 Mission to Mars, a half-dreamy, half-plausible effect achieved in part by cinematographer Stephen Burum's use of light reflectors made of copper sheeting? If I have to be stuck on Mars for any length of time, that's the one I want. The most affecting sequence in The Martian comes late, after Damon's Watney has been stranded on this dangerously semi-hospitable planet for such a very long time: His previously robust frame is bony. His face — that of a man who, even in his mid-forties, looks barely old enough to shave — has sprouted a rangy, mountain-man beard. Watney has refashioned himself as a space pirate. Finally, he's gone potty, but only just a little — he'll spring back to normal soon enough.

But for a few moments, he's a spiritual twin to Don Cheadle in Mission to Mars, another left-behind astronaut who managed to make stuff grow. By the time Cheadle's friends and colleagues finally rescue him, he has become the prisoner of a greenhouse that has also saved his life — it's enemy and sustenance at once. And even though he, like Watney, regains his sanity, there's a glimmer of madness in his eyes that will never fully dissipate. Mission to Mars was derided on its release, but there are few movies about space exploration as visually resplendent, or as delicately perched between mournfulness and optimism. And have we really reached the point where advanced special effects count for more than visual imagination? De Palma, himself a high school science fair winner, approached space as a mystery, a problem beautiful in its vast unsolvability. Scott, all about solutions, gives us the most seemingly authentic Mars money can buy. That doesn't make it the best.


ALSO: NASA TWEETED THE FOLLOWING ON FRIDAY (SEPT. 25th)...

Posted by Geoff at 7:13 PM CDT
Post Comment | View Comments (1) | Permalink | Share This Post

Saturday, September 26, 2015 - 7:45 PM CDT

Name: "harry georgatos"

I have a soft spot for M2M as a beautifully crafted space rescue mission. Also the imagery of Mars has a sense of wonder that makes it compelling on the eyes.

The film is half a masterpiece as the last 10 minutes inside the Face played like a textbook classroom explanation that I found somwhat bordering on the tedious.

 De Palma had said he wanted to take this movie in a different direction but the suits at the studio were constantly giving him notes and never got to make the movie he wanted to make.

M2M deserved a better reception then what it got at the time as there are beautifully realised sequences throughout the film.

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