Vantage Point (2008)
Directed by Pete Travis
During an historic counter-terrorism summit in Spain, the President of the United States is struck down by an assassin's bullet. Eight strangers have a perfect view of the kill, but what did they really see? As the minutes leading up to the fatal shot are replayed through the eyes of each eyewitness, the reality of the assassination takes shape.
5 connections found
View:
5 connections, in both directions
What critics compared Vantage Point to
…the narrative structure of “Vantage Point,” as it switches different perspectives with each 20 minute countdown…
…movies that use Rashomon-style storytelling from The Usual Suspects to Snake Eyes, Elephant and Vantage Point…
It essentially brings nothing new to the table, and Fogelman’s vision doesn’t break new ground, considering the cinematic catalogue has already explored this concept with films such as Babel, Vantage Point and even the Oscar-winning Crash (the less said about that film, the better) with various degrees of success.
The Last Duel is a Rashomon (or Vantage Point, for the cultured among us) inspired journey in which the audience plays judge and jury over its court case.
Better Than: 2008's Vantage Point, although they use a similar time construct to tell the story.
A few years ago, there was a movie called Vantage Point, in which a bunch of people were trying to figure out who was responsible for a presidential assassination.
Advertisement
Director Pete Travis, who seemed unable to keep up with the dizzying plot twists sprung by scripter Barry Levy for his 2008 thriller Vantage Point, functions better with the relatively straightforward script provided here by Alex Garland; this freedom allows him to construct a movie defined by its beautifully framed mise en scenes and driven by two protagonists who manage to play off each other's differences.
Pete Travis , best known for "Vantage Point," makes the most of his budget, and MegaCity 1 as well as Peach Trees are incredibly well-designed, and I love that the world is so ugly.
The crack she’s pushing makes time seem like it’s passing at a micro-fraction of normal speed, and director Pete Travis (“Vantage Point”) mines this device for some of the geek-cleverest slo-mo since “The Matrix.”
Director Pete Travis, who showed a lot of promise in the otherwise underwhelming “Vantage Point,” understands the concept of what he’s working with and gloriously embraces it with dazzling, bright colors to counter the film’s gritty, violent tone.
While this Judge Dredd reboot shares the same source material as Sylvester Stallone's 1995 sci-fi action flop, director Pete Travis (Vantage Point, End Game) opts for a darker, more gruesome, yet equally bombastic take on fascistic cops and depraved robbers in a dystopic future.
Slo-Mo, Ma-Ma’s preferred drug which causes the brain to work at 1 percent normal speed, allows director Pete Travis (“Vantage Point”) to stylize anything in sight when someone has inhaled the drug.