![]() ![]() ![]() Maybe Sapochnik was going for a 28 Days Later feeling (he started out as a storyboard artist for that film’s director, Danny Boyle), but even though those zombie films were just as choppily edited and filmed with equally tight-and-wild handheld cameras, the action was clear and you were rarely in doubt about what just happened. Occasionally mesmerizing but mostly a blurry slog, it was easily the least of the show’s specialty battle episodes.įilmmaker Miguel Sapochnik, who also directed the superior, similarly big-budgeted yet spatially-contained “Hardhome” and “Battle of the Bastards,” made bold style choices that backfired: dim lighting except in fire- or ice-centric scenes frenzied handheld camerawork and editing silhouette shots that hid people’s faces. ![]() Game of Thrones could still do that in its last three episodes, but “ The Long Night” did not inspire confidence. When a series nails its final season, we say it stuck the landing. ![]()
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