Um, did you mean symbolism? Because "symbology" is the study of symbols.
It's all about psychological symbology and the characters and their relationships? I laughed a lot at your review. I sure hope you mean this satirical...
Troll, is that you?
Nope, was dead serious. Symbology, symbolism, vhatever.
Trump delenda est
To be fair, Because I Was Bored was wrong as well, semiotics is the study of symbols.
@tricksterson: While Terry G does love tiptoeing on the border between reality and madness/dreams I would argue that he is far from Sucker Punch, maybe apart from not being very good at female characters. I mean the easiest comparison is between SP and Tideland, where the small girl too is trapped in a horrible situation (be it vocally acknowledged or not) and uses her imagination to escape, and these two are like heaven and earth to each other.
@gerjan Ah, my mistake.
Though I wouldn't say Snyder is really a prize when picking female characters either. His female characters tend to lack personality, and tend to be played by people who either can't act or aren't really fit for the role.
Sometimes I can't help but wonder if he picks his female cast based only on looks...
I started noticing that he loves to have his females raped and then the woman kill the rapist, as if that really makes everything better, because often the rape isn't really necessary to begin with. As for the acting, I remember the Distressed Watcher mentioning nullodrama in his Twilight commentary, perhaps it is in vogue...
^ Haven't seen the movie, but I would like to comment that there's a lot of old exploitation movies that deal with Rape And Revenge so maybe he's taking cues from those? IDK. Not saying it's right, but there are stories that exist.
We're everything brighter than even the sun
It's not so much Rape and Revenge with Snyder as it is trying to portray rape as empowering in some way.
Granted, I haven't seen Dawn of the Dead or Legend of the Guardians, but from the Snyder movies I have seen I've always thought he never really figured out how to get the tone right when dealing with those kinds of scenes.
True, I haven't seen all of his flicks but I keep getting the feeling that he wants to have empowerment but doesn't know how to deal with it. It's not as though it's exploitation film either, cause I'm fine with those, Snyder very urgently states that this is intelligent cinema and not exploitation so yeah...
I get the feeling that Snyder has this vision of his films being really profound and deep (like how he described Sucker Punch as being the Watchmen of film), but when he tries to create that vision he ends up stumbling all over the place. You can kind of see that he's trying to make that jump to make the films have meaning behind him - but from what I've seen so far he usually fails.
It would probably help if he wasn't could take criticism better - the audience is never wrong after all.
To be honest, he always comes out saying that *insertlatestmovienamehere* will change everything, so I'm thinking it's a case of an inflated ego
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It Had Me At "Hello"
If Terry Gilliam and Quentin Tarentino collaborated on a movie it would be this movie. It has the layered approach to reality and moody atmospherics of the former and the babes and stylized violence of the latter. Some warnings: First, if you like your stories linear stay away from this one it's all about psychological symbology. Second don't pay attention to the trailers, yes there are hot women in stripperific outfits, swordfights and gunfights, dragons and undead Steam Punk Germans and they're all very fun but it's the characters and their relationships that grabbed me.
Also should note that the movie is bookended by two wonderful covers of 80s hits. I never thought that someone could match Annie Lennox's rendtion of "Sweet Dreams Are Made of This" but Emily Browning manages it largely by changing the tone from cynical and defiant to melencholy. At the end sit through the credits to catch "Love Is The Drug", a version that in context of what came before it is downright chilling.