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Underrated solo
Linnie 2022-09-27 00:05:12
"The SOLOIST/Soloist", co-starred by the director of "Redemption" and Iron Man Little Carrot Special Candy and Ray boss JAMIE FOXX, can be described as a recent model of abnormal humans. The reason for the low evaluation may lie in the choice of the film’s entry point. The director always likes to combine the narrative language of surreal romanticism with over-sharp human realism. For "The Soloist", the former is used to borrow the vision of the mentally ill. Depicts an irrational musical jumping poem, the latter uses the same eyes to examine a secular society that is swayed by inertial thinking and arbitrarily weak; the tone of the film's ridiculous tone somewhat dissolves the heavy side of the story, but does not Without reducing its depth, viewers who are accustomed to commercial or artistic films are a bit at a loss. The fast-paced narration of the film similar to "Redemption" is very interesting, and it may be another reason for the film's criticism. Different from ordinary art and science genius movies that are demonized and demonized ("Sea Pianist", "Mozart", "Beautiful Mind"...), this film seems to show that what is truly abnormal is not indulging in the miracle of musical notes. The soul figure who is out of place in the world, but the classification and criticism of aliens under the inherent social thinking of every other person who cannot experience poetry.
Extended Reading
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Jaylen 2022-05-24 20:41:27
A long shot into the newspaper about 5 and a half minutes. There is also a long shot of floor shifting in 23 minutes. A long shot of about 53 minutes and 40 seconds. In addition, there are more similar small-scale long shots. Various shots and clips make the director look quite academic.
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Darwin 2022-05-24 22:51:58
The film is really terrible, but Little Robert Sugar Mud once again proved that as long as the man standing in front of him, his eyes will definitely discharge this unbreakable truth~~
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Nathaniel Ayers: [going to sleep] Our Father, who art in heaven, hallowed be thy name. Thy kingdom come, thy will be done, on earth as it is in heaven. Give us this day our daily bread. Just keep it coming. There's plenty. And forgive us our trespasses, as we forgive those who trespass against us.
Steve Lopez: [narrating] I knew only part of his story. I knew him playing the violin on a dairy crate in the morning sun, suspended somewhere between boy genius and lost traveler. Every night my friend Nathaniel tucks his instruments away and lays his head among the predators and hustlers, among the fallen drunks sprawled in the streets, as rats the size of meatloaves dart out of the drains to feed off the squalor.
Nathaniel Ayers: Lead us not into temptation. For thine is kingdom, the power and the glory, forever. Forever and ever.
Steve Lopez: [narrating] I tell him this is no place for him. He says he wants to be here. He says this is his choice. Should I take him at his word, or should I try to force him inside? Wouldn't a little arm-twisting be more humane than leaving him here on the streets in this lost colony of broken, helpless souls?
Nathaniel Ayers: I hope you sleep well, Mr. Lopez. I hope the whole world sleeps well.
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Steve Lopez: Every now and then, the hearts, minds, and wallets of the city's officials open simultaneously. And when that happens, every now and then, the city is a better place for it.