Recommendations: Ross (Rossjm)

What caused me to be so generous with this preposterously clichéd and blasphemous "vampire" story? Some bits of the photography, of course.

Ladies and gentlemen:

What we are witnessing here is an astonishingly, financially successful piece of pretentious crap because of an awful novel that was aimed towards the female and, with all due respect, homosexual audiences. The vampire mythology is ultimately used as an object for enhancing the stupidity implicit in the concept of a forbidden love. Naturally, a bad script comes from a bad book, and Pattinson and Stewart being in a film directed by a pink filmmaker immediately replaces the genre quality with eye candy. The audiences of the masterful Let the Right One In were overshadowed by worldwide "Twilighters", but let's get some points straight.

1) Did you love the film because of the romance? You're not a fan of Twilight; you are a fan of romantic stories.
2) Did you love the film because it supposedly deals with a forbidden romance? You're not a fan of Twilight; you are a fan of messy tales that focus on stereotyping rather than in the horrible condition and thought-provoking decisions that being a vampire involves. Mindlessly, through some werewolves in there for "variety of races".
3) Did you love the film because it is a vampire story? Believe me; you should NOT like Twilight. Watch Nosferatu, Dracula and even Interview with the Vampire. Looking for an effective vampire romance? Watch Let the Right One In (2008).
4) Did you love the film because of Stewart/Pattinson? You're not a fan of Twilight; you are in love with Stewart/Pattinson, my dear pop culture/High School Musical avid follower.
5) Did you love the film because of the novel? Sorry, but that does not make sense. Re-read my four previous arguments.

Twilight's popularity has been propelled by the surprisingly vast outcome of a novel that confused genres. The film, therefore, has conglomerated the most unbelievable and illogical decisions of a 17-year-old teenager, the problems of youth, the exaggerated characteristic aspects of Catherine Hardwicke's Thirteen (2003), uninterested special effects and a climax that took place way too soon. It is a mess of preposterous massive admiration, and Stephanie Meyer is the new antichrist that may destroy the mysticism and the macabre nature of a good vampire tale. We, the ones who still have consciousness, survived. We should be thankful, since this is the best definition of "over-hyped".

42/100

The least thing Sidney Lumet's last film is, is original. The premise of the film, the name of the director behind the project and an attractive cast were meant to raise expectations, but the ambitious and stylish first 30 minutes, not mentioning the delicious opening of the film, were immediately drown into the pretentiousness of the rest of the it despite Seymour Hoffman being as impressive as he normally is. Tries too hard to be original and outstanding, and the result is a decent crime film to watch.

65/100