Production design really did their part. Mostly great locations, clothes, cars, equipment. They got more or less proper police armored cars even, which many of these films don't bother with.
And then they hired a third rate cinematographer who filmed it like much of his recent work, junky network TV. Static shots with too much depth of field. Every subject centered, even if it means rather clunky tracking or dollying. The most thrilling things are tilting the camera like Batman '66, or shakeycam when inappropriate. Sometimes, there's smoke, I guess because they couldn't get atmospheric shots without adding smoke.
And this in a film about photography!
Also problems with the entire concept of the script, the editing, and a lot of the acting. Oh, and captions all over, an intro to explain the concept, and then an interview wraparound, I guess? Why? And, apparently Ryan Phillipe gets all the girls because of who he is, and I have no idea why that added anything to the story.
But all in all, it's hard to get over the movie-of-the-week photography.
And then they hired a third rate cinematographer who filmed it like much of his recent work, junky network TV. Static shots with too much depth of field. Every subject centered, even if it means rather clunky tracking or dollying. The most thrilling things are tilting the camera like Batman '66, or shakeycam when inappropriate. Sometimes, there's smoke, I guess because they couldn't get atmospheric shots without adding smoke.
And this in a film about photography!
Also problems with the entire concept of the script, the editing, and a lot of the acting. Oh, and captions all over, an intro to explain the concept, and then an interview wraparound, I guess? Why? And, apparently Ryan Phillipe gets all the girls because of who he is, and I have no idea why that added anything to the story.
But all in all, it's hard to get over the movie-of-the-week photography.