Ethan Switch - Friday, 23 June 2006
Five minutes to quickly turns to ten minutes over the hour. No sign of open doors and three women eat out one box of popcorn with their mouths open. Kernels hit the ground with as much frequency as the clicking and yapping of their jaws. Talk over the popcorn intensifies as they struggle to find the coordination to hit their mouths with their hands. A streaming sight of yellow explodo is done and all over with each encroaching patron.
Steadily the stream of people flapping about builds to line the foyer. Or whatever they call that area in front of the candy stand. Not everyone calls it a foyer.
Sheer to a slight degree, stairs to the seats in the auditorium. A wide enough berth for the passing of feet that those who choose not to stand up to create extra room for traffic will only ding their shoes. Unless they are of the extra wide breed where is no favour for them.
3D glass wear is clunky, though light and easy enough to rest on the face. Covering quite a lot of the face, it's a blanket blind with slight hint of tinting to the left and right. Only a bit of reflecting light from the back is a worry. And with the flimsy feel, the cause to break any minute of way ward adjusting.
Deep Sea 3D is wet and the dynamic nature of the visuals is expressively impressive. Rich depth of the colours is wild with a sickening twist of the "hypothetical" third dimension. All senses direct themselves toward the towering screen and it's a loss for words.
A disapproving man runs with "tsk tsk" or "tch, tch" all the way through the film. If it's irritating once, imagine it being the soundtrack over the Danny Elfman score. Everyone with ears loses in this situation.
Johnny Depp and Kate Winslet are dreamy to listen to. Their voices present a mixture that sort of gonzo flavour feel for Depp and a cricket of the English in Winslet. Listening to what they say sideswipes how they say it. What they say, off the script, is made for school dialogue. Playful and a rudimentary wonder about. "What's that?"
Tripping a delicate balance between the mystique and brutal reality, a section on the destruction and decimation of the sea world hardly features. Instead, the major focus is on the beauty and the majesty of rock and the pageantry of roll. The farmer with his wife and a tangent that follows the eerie depths of submersion.
Credits are captivating enough that nobody dare move from their seats until the fade out. And the lady with the kids nearly falls down over herself trying to jump a seat. That's not for you ma'am.