'Between innocence and politics' would be a Donnie Darkesque mistake to describe the experience of this movie. There's more than one dimension in the world of Reggio and Glass. Especially Jon Kane adds a dimension in my opinion. At times I was a bit disappointed that the creators couldn't resist the temptation of getting rather political and explicit. That wasn't necessary to entertain the audience more. Some may put it like certain sequences are on the verge of being political, but the engagement annoyed me. The Beastie Boys video 'Something's got to give' did it better.
Animation/CGI has been completely aesthetically accepted as means of returning to the level of part one with bits of Tron, bytes of the Matrix, snippets of 2001 and views of Avalon (Oshii, 2001). Together with Glass's magnificent tunes and 'skywalker sound' Naqoyqatsi almost reaches the massive level of Koyaanisqatsi.
Reggio and Kane return to computer-mainboards, cultivation of nature, escalation of conflicts, but this powerful and almost scientific exploration of all kinds of human conflicts still has little intellectual value. Not even if it featured a thousand computer generated symbols, Leonardo Da Vincis, Madame Tussauds, American presidents, Hieronymus Boschs, terrorists or babies. The explicit and excessive use of facial icons and expressions diminishes the universal value as well. I was charmed by the portrayal of internal fights that sportsmen and -women experience (but why did they forget rowing sequences?). It still is way better than the picturesque Powaqqatsi, not only because this has less stock shots, apart from some military parades and nuclear mushrooms. I'm glad Soderbergh shoved it forward. 8/10 (Koyaanisqatsi after reconsidering 9/10, Powaqqatsi 6/10)
Animation/CGI has been completely aesthetically accepted as means of returning to the level of part one with bits of Tron, bytes of the Matrix, snippets of 2001 and views of Avalon (Oshii, 2001). Together with Glass's magnificent tunes and 'skywalker sound' Naqoyqatsi almost reaches the massive level of Koyaanisqatsi.
Reggio and Kane return to computer-mainboards, cultivation of nature, escalation of conflicts, but this powerful and almost scientific exploration of all kinds of human conflicts still has little intellectual value. Not even if it featured a thousand computer generated symbols, Leonardo Da Vincis, Madame Tussauds, American presidents, Hieronymus Boschs, terrorists or babies. The explicit and excessive use of facial icons and expressions diminishes the universal value as well. I was charmed by the portrayal of internal fights that sportsmen and -women experience (but why did they forget rowing sequences?). It still is way better than the picturesque Powaqqatsi, not only because this has less stock shots, apart from some military parades and nuclear mushrooms. I'm glad Soderbergh shoved it forward. 8/10 (Koyaanisqatsi after reconsidering 9/10, Powaqqatsi 6/10)