amazing yet ghastly, and phantasmagorical film, especially on a visual level. The sets were amazing, and the story was actually somewhat interesting. But I didn't really buy into Vince Vaughn though.
In some sort of twisted way, I found myself caring more that the serial killer could redeem himself in some way, rather than the girl.
I know, I know: I iz sick....

Howard Shore's funky-ass Moroccan music in the main titles hooked me from the beginning. As someone pointed out to me, it seemed very much like a film Elliot Goldenthal could have done well, also.
very powerful score.

the guy with the big purple robe was too cool.

quote:

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Originally posted by JJH:

In some sort of twisted way, I found myself caring more that the serial killer could redeem himself in some way, rather than the girl.
I know, I know: I iz sick....

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I can understand why you feel that way. One of the things I didn't like about the movie was that Jennifier Lopez's character seemed to care more about helping the killer than the missing girl with 40 hours to live.

quote:

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Originally posted by JJH:

Howard Shore's funky-ass Moroccan music in the main titles hooked me from the beginning. As someone pointed out to me, it seemed very much like a film Elliot Goldenthal could have done well, also.
very powerful score.

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The Main Title and Elliot Goldenthal, now thats a good comparison.
Man Oh Man! was that noisy!

The scored worked in the film, but I would never want to hear it outside of it.

Tim:
I think the strategy behind Lopez's character was to gain the trust of Little Carl so he could tell the answer. Although when Vaughn's character discovered the company logo and then managed to link it to the abandoned factory, then I think it was safe for Lopez to focus on Little Carl.

main titles are reminiscent of 8MM.

In the film, we see three Starghers: the creature of his own fantasies (what he would like to be); the man himself (how he really is) and the boy represents the human side of him, submerged.

Serial killers are, after all, human, however reprehensible and evil their actions may be.

It reminded me a little of Michael Mann's underrated Manhunter, in which at one point Dennis Farina berates William Peterson for showing compassion towards the object of their manhunt. Peterson responds that he feels for the child that the killer once was. "Someone took this boy and did this to him," he says, "That's who I feel sorry for." The adult, he continues, is unredeemable.