Audience Member
Ms Heard can't act well in or outside of movies.
Rated 1/5 Stars •
Rated 1 out of 5 stars
01/30/23
Full Review
Audience Member
you'd think with all those names I would find the characters believable. I didn't. it was too long and a hard watch.
Rated 2/5 Stars •
Rated 2 out of 5 stars
01/25/23
Full Review
Audience Member
Not more Herald. Dont mess Aquaman 2 whith her.
Rated 0.5/5 Stars •
Rated 0.5 out of 5 stars
01/30/23
Full Review
Audience Member
Amber is an terrible actor and ruins the whole movie
Rated 0.5/5 Stars •
Rated 0.5 out of 5 stars
01/25/23
Full Review
Audience Member
The only time to watch and review The Director's Cut of London fields is now: within a human species post-crisis, so novel to that species that there is no occurrence leave alone a record. Its the only time that London Fields makes more than just sense, total sense. It is now our new potential mirror and or X-ray machine for our so called"New Normal." It can be London but it can be any city, town, enclave of human dissonance.
As a child I went to the school of life though films presented by the great Alex Cox, on his Moviedrome show, I was introduced to precursors to the coming influx of Neo-90's Noir. Narratives that coiled around its characters with the love of hungry anacondas; stories from the shrades of the social human fringe; men and women alike gleefully hapless or broken, souls just seeking to steal their inevitabilities from fate and make it their own - as if that some how made thier doom bearable.
Films where pale shadows crowded the celluloid frame even they were alone they were just paler than the crowd.
London fields so reminds me of this vein of filmmaking. In Neo-90's noir people were incapable of making anyone happy, not even themselves, or anyone else, they either new it and would violently seek irony, or just detraction, or simply some air of self-appointed cleverness about their failures: their philosophy the wisdom of one's own doom is better than the ignorance of it (as if that helps).
It was a joy to feel like a kid watching films I shouldn't be watching, with the sound turned down low, so parents in bed don't wake, listening to an intro by the great Alex Cox, and the prototypes of the coming 90's noir. This is what it felt like watching London Fields.
The first shot had dance in its guts, the first sign of a good director, making sure the audience know s/he cares. I was reassured and sat back in comfort knowing I don't have to be anxious. Few films know how to utilize stock footage, or some films over use it, some just don't respect it, we may see more of it since the big plague of 2020 hit planet earth. The now infamous "C" word hit just 4 months after I saw it in 2019 on the eve of the UK election that would decide the fate of thousands literally and of the new London that I am now living through. This is why London Fields Directors cut must be watched post-global pandemic, post London post human incubation, post human global coma, wake up and watch it!
The true value of London Fields is in its ability to be relevant externally, not just internally, it will be talked about for decades as the greatest film-restructuring/ turnaround since George Miller saved Mad Max 4 from september 11th. As long as London is here with a new normal that a film and book called London Fields possibly predictive like Nostradamus "pre" and mid plague predictions. Like Daniel's predictions of the fourth beast, that is a president of the free world advising people to drink bleach as it cures plague like some victorian charlatan-witch-doctor.
Talking of victorian London look out for a wonderful Fagan meets Sid-Vicious like surprise, it will remain a surprise as I will not spoil it , you will have to watch it. Remember the advent of dvd extras where the story behind the story became King and queen, well here is your story behind the story of London Fields the coiling fluid labyrinth that this director's cut had to circumvent and master at the same time, is in itself a book, a film maybe a trilogy. It then becomes a matrix for the films ability to gracefully scream with silent pain, palpable in its starving human waifs, the population of jagged grizzled shadows of an old world, just like a pre-covid London.
My story:
- I waited 5 years to watch the director's cut, as I knew this would be the film to watch, I know from day zero, that this would be the definite splice, I am glad I waited, but i had no other option. More importantly I am glad I waited to be one of the fortunate survivors of the real London apocalypse to be able to write a review worthy of note.
Filming locations:
During the pandemic I walked around the many locations that London Fields filmed in, like Brixton where I grew up, and I went to bulk buy food, part of my post apocalyptic preppers protocol. I'm a prepper by nature so I had bought my ffp3 mask months before. I actually gave a health and safety threat and risk consultation to a filmmaker heading to Ebola hit Lagos, I said "Make sure you have 3 meters on everyone and every surface so only the soles of your shoes need chlorine (the only chem that degrades DNA) I didn't call it social distancing I called it don't get Ebola. Here we are fortunate it was not Ebola that hit world and London Fields. I bought food in bulk buying is very different from panic buying, but I can't judge london is pretty but pretty tough to live in.
London Fields Anatomy:
+ Matrix: When I say The Matrix of London fields I speak about the meta-mould, London is the ideal place to film an apocalypse, London was once the capital of the world since Britannia once owned most of the world. Location location location is everything.
+Concept: You can have a concept of any thing a concept of concept itself , a concept of the idea of a principal. Why not start with the concept of human nature, give our nature enough rope and we will hang ourselves and each everyone else in the room , but why is the nicely investigated by Bill Bob Thornton's character. This rope reaches the macro space to the micro of all the individual characters.
+ Basis: I have a feeling much like the basis for the characters in "Withnail and I" the writer Ames, the author of the book, he has based these characters on the transients that peppered his life in London.
+ Grounds: There are sub-cultures of ravaged souls who make the characters even in the book look pale in comparison - art always mimics life not the other way round.
+Criteria: The criteria is to capture a credible cinematic vignette of a very wild book
+ Responsibility: There is an integrity of context well policed diegetically and in the non diegetic space. The director is now renowned for policing this context which was under threat when islamic content (there's that other "C" word) was misaligned with pornography to create a pornography, the legal battle that ensued was only fueled by this particular mismanagement of content with no context.
+ |Sense of place "This is London"
London is hit by hyperinflation, social controls, shortages, poverty, mass unemployment, Social Unrest,divisions, divergency of schisms, social branching in to pockets of gang pods.
+Pattern of capacity: is potent disconcerting X-ray machine to the lower digestive system, beyond the ice-tipped persona of innocence, the bystander, observer, storyteller. It peels back the plasters wrapped around the slick wounds, and it does it finger by finger of London's inner ducts, where its appendix once was.
The shadows of a cosmopolitan gas chamber known as London slither and preen the boiling social swampy waves seeking their nothings in what they see as somethings', goals that are obvious traps or not so obvious. They leave patterns of psycho-splatter across the corridors of doom-drowned doors with no one able to reach their goals and no one capable of making each other happy but, even though deep down they know it, they still pursue against instinct better judgment. They have to, as if they don't we would not have any drama.
This is Kitch satire the likes of which spilled out of neo-grungy scenes of the 90's neo noir, but its interesting to see this in a London steamy punky setting, rather than Hollywoodland.
Highlights of the film is an interesting crossing of the 180 degree line, which is always a tricky area.
In London Fields the human ice-berg is built almost entirely out of constellations of man and woman's failure points, we are left with the question simply what will drive us, what will keep us going after the discovery of these failure points.
I: Inspiration by the challenge to put a x-ray, a mirror in front of the face of London as a gateway to the face of the wider world
W: WHy do this film? Well every couple of years in intervals where London is begging for this mirror so lets provide it.
V: The vision was to engineer an exposing investigation of the ghosts of London all the way to their souls and their soul-engines.
M: Mission was to find the cast and support structure to manifest this vision
S-T: The strategy to tactical synergy was to turn the motion of this story in to an serendipitous dance off the page of the book on to the cinema screen.
Vision: To make a respectable cool potently socially vital potency vignette that a 2 hour film cna do for the many pages of a book
Strategy: To go in with fervent dedication leveraging years of mastering skill of marrying music and image, and an industry that forces the discipline of story.
B: Diegetic: Why do these characters do what they do, human beings have drives from baseline to top line drives, these drives are constantly hungry, convergent and divergent simultaneously. where do we put drives, what do we do with them, where will they go
The characters with doomed naive seek happy endings for their drives, in doing so misd judge everyone. The souls here are using chess strategies to leverage their needs and clear the road of others in their path creating an emotionally psychologically all-in-ring wrestling match everyone eliminating each other.
- Agility: The agility is not just in the films dynamic rehabilitative turnaround but agility in characterisation of the most hyper-wild surreal characters in a book nicely done by Jim Sturgess fagan meets sid vicious sex-pistols. And Johnny Depps Cockney-Rockabilly predator.
5.- kudoi: The Synecdoche: Here is with the director has managed to perform if not one of but maybe the most important Innovation Turnaround in the history of cinema. This could be the making of a new career. It is a career I went into recently I have performed it on other films myself but never had to do it on my own.
6.- Innovation: The director holds the mantle on the most strategic siege-craft innovation since those valiant thanes of the 5th century, took the gabled hall to siege in King Fin's realm of friesland; that young King of Denmark Heanerf with with 60 retainers went to visit his sister, recently married in peace weaving in Frankish lands, and for reasons yet to be disclosed to us, is put to seige in a gabled hall. It is an example in history where siegecraft worked. Matthew Cullen would have had to must some ancient type of lock-jaw dedication to pursue a siege craft of 5 years. with an army of producers, investors and compounding resistance.
7.- leadership side: The leadership it requires to execute a turnaround on a business is Herculean. There are 5 stages to a turnaround 0. People 1. Runaway - Leverage Cash runnaw 2. Technical engineering 3. Value chain strategy: add value - take away value - modify underlying value 4. Finalizing product market fit and fitness to execute a cut 5. New Campaign 6. Re-delivery. Just like in the film the characters all see themselves as leaders but they are ultimately proxy-puppets of a greater chess game.
8.- assertiveness: The director asserts with a five year kung-fu grip to show that the little voice in the milestone of a crocodile culture of producers, investors and meta-investors that the little voice can shout the loudest when it counts. It can do this when it is important, when our voice must protect the unicorns gallop and leave our creativity factory, we must do this so they don;t fall down the cracks.
In the film we see actors forging their stamps on their portrayals, of characters seertingthier desperations on each other's visions of happiness.
9.- Resonance of Messaging:brand Matthews Brand is potent authenticity of creativity this resonates in his film-turnaround and in the realignment of creative assets in,most in the alignments
10. Positive magnet respect attract positive Providence: The Universe has shined on Matthew and his valiant journey as the results have shown that it was on his side
LONDON FIELDS GLOSSARY:
- Conceptuals: What if you apply business turnaround to your own film not just someone's film but your own. Inside the film the concept
- Concept of principle: The core principle was constant unbridled constant pulse of exposure of warts and all innards of post-social apocalyptic jagged humanity character by character.
- Context: The Meta Post-Apocalypse: the after-party to the aftermath of London.
- Grounds: Matthew had good grounds to purser this Colonel kurtz-like mission his unicorns had been dropped down the
- Reach - if it is made more clear where to find the directors cut this will be king, .
- Inimitability: Anyone trying to imitate this will stick out like a pik zeblinp
- replayability: There is plenty here to study and restudy and this is the best master class in Film Turnaround making Matthew Cullen the most history making CFO of London Fields successfully restructured like LEGO brick By Brick (Which is also an interesting book on how lego turned themselves around in 5 years).
- Accessibility: There is plenty here to make accessible to wider audiences with lots of help from Johnny Depp providing magnetic rockabilly-cockney psycho-menace
- Principle: Waste nothing and produce more with as little as possible.
Vision mission
: Apex-Crux: A poetic battle manual in overcoming the cataclysm-apocalyptic crushing of your family as a consequences of the poisonous chains of criminology.
- Idea: Human nature builds cunning paths of self-sabotage for itself knowingly and unknowingly and its infectious.
- Theme(s): self-infliction, sabotatge, self-sabotage
- Terms of understanding: the terms of understanding here are though the pattern of traffic between peoples' enemy within how they clash and
- Dance: The film is nicely dancing
- sculpture : There is a sense of engineering finess to the this cut that reaches between the small life of characters and the wider outside world that is out there somewhere but hasn't been seen in a long time and and clearly is not missed. 4
- Signature: The signature here the brand the unique finger print is garishly distinct defined unmistakable, flamboyant graish clever use nourish pop-kitch-
- Innovation: There is an interesting way that Matthew Cullen breaks the 180 line look out for it, Jim Sturges Innovative contribution to a now infamous Sid -Vicious meets Fagan mashup is no legend.
--------------------->
- Communication: The colours seem to be the some of the most dominant communicator in London
- Message: Warnings of not just the soul's emotional vulnerability of people, the hazard of peoples problems, but the hazard of a now victorian like London
- Language
- Conveyance - Shape
Nuance: Nuance swells in the misery that Billy Bob Thorton carries around, it hangs like the unsucked cigarette smoke constantly trailing his character's
- Ethos: The Directors ethos is the first rule of any endeavor is never give up! Once the mission was demanded to turn the film around this rule become law so taking names off a film are not part of this ethos. The Films' ethos everything is available.
- idiosyncrasy: The positions of satirical use of nourish pop--kitch is so uni
- ethics: The direct fought to remedy inflammatory scenes IN the original cut there were scenes where religion is explicitly juxat
- Responsibility: There is obvious responsibility to do just ice to the book, but also to the characters and how the actors navigate this, then there is London, one of the most if not the most unique city in the world.
- Code: Its code of conduct is to never let you rest to corrugate the constant exposure of the shades of core characters and new characters both minor and major.
- Policy: IS to be calmly unrelenting in the face of adversity on and off set.
Peace - MovieSyndrome
Rated 5/5 Stars •
Rated 5 out of 5 stars
02/05/23
Full Review
Audience Member
An excellent artistic vision of director Mathew Cullen and cinematographer Guilermo Del Toro
Rated 5/5 Stars •
Rated 5 out of 5 stars
02/24/23
Full Review
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