B-rated movie production company Netflix released documentary on elite class actor Sylvester Stallone. Director Thom Zimny doesn’t know what to do. That was senseless using of slow motion on people who roll carpet and it almost froze on place. Zimny through whole movie shows shots of process of departure from Californian house through packing stuff what all of that has no substance. He can’t narrate story and having great teller Sylvester Stallone on camera Zimny does his story uninteresting. He doesn’t understand which mood should be in place. It would be identical to come in roller coaster park and hear Chopin’s funeral march. This alienated music killed power of scene in Rocky when he comes to Mickey. That was always with other scenes from the Stallone’s movies. Zimny is one of two people who was and had no clue in editing, which result is mess with combination of shots. Same shot of Sly stays at window three times, which creates mystery about it’s meaning. A lot of footage from Stallone’s infamous The Party at Kitty and Stud’s was used for association with actor’s biography. Nobody of involved in filmmaking Sly was on ground. Music is constancy of wrong. I was irritated by sound of terribly playing guitar in very beginning and odd song was from untalented in singing in end credits. A cinematographer’s technique are drunken movements, which never had reason and especially when no action occurred. A film very often turns on interviews from audio records. “Is it documentary?” was logical question. That part was only useful when Sylvester Stallone began to talk with himself in past. Zimny also included many excerpts from TV interviews. His movie has no proper ending. Regrettably, Sly wasn’t involved in control process as said Zimny.
I could ignore technical side, because it was possible to keep attention on Sylvester Stallone who of people whom can passionately listen and time goes in smooth pleasure. And it’s discovery here by that Stallone is open in everything. I was lovely thrilled to hear on what was his vision in against of initial ending in First Blood. Stallone discloses his artistic magnificence by his breaking down one scene in Cop Land. I repeat what I wrote before. He, as it characteristically for a big actor, always meddled in control of filming process, but it always turned into gold when I see movie and I’ve learnt history of it’s production. That’s because Sly Stallone knows how to tell from perspectives of scriptwriter, director and actor – three significant positions in storytelling of film. It willn’t easy to recall other person who can feel and has vision from all these basic perspectives.
Documentary has participation of Talia Shire whom listening in similar one breath. I was offended by that Frank Stallone was titled only as a “brother”. Arnie mostly in exciting stance in talking on Stallone in praising way though he never exaggerates in what he says. However, people close to legend and collaborated with him in movies are tiny little in this documentary. Miscasting choices were in taking interviews from Quentin Tarantino and unknown for me Wesley Morris who is a film critic as credit says. They are outside people. Involvement of the first makes harm to documentary. Tarantino was thirteen in time of Rocky release – it’s unlikely he could understand in acting when, as he says, had surprise reaction by seeing on TV that Stallone was put in one with Al Pacino, Marlon Brando and Robert De Niro. His reasoning on what Sly Stallone thinking has no basis and his talking on actor’s movies are his opinion what doesn’t do in documentary, because goal of these films is research. Tarantino’s perception on Rocky III and Rocky IV is knowledge of average Joe in which he sees only action – he should listen a legend himself if he didn’t get meaning what films are about. Stallone tells on Rocky III and that makes contradiction to said by plagiarist director. Stallone in this documentary disrupts such perception, which only can be from people who don’t know what acting is. I wanted to mute on Tarantino. I was thinking that he must be cut off from this hopeless documentary. He was a discomfortable person, but that’s because his personality. Why weren’t taken interviews from Norman Jewison and Joe Eszterhas who both only in old records? They do that! Who was that man praised Sly’s writing when was in talking about First Blood? Was Ted Kotcheff who could also give interview? Sometimes this documentary more for people who familiar with Sylvester Stallone and his films. Not all titles of Stallone’s movies pronounce.
His story presented in vague. Period in Roger Corman films in unknown. His comedy efforts in which he likely involved himself because that Arnie began who made successful Twins and later followed by that Kindergarten Cop were wrong interpreted by extraneous people again. Zimny’s documentary is not detailed on Paradise Alley. It uses past Sly’s interview on this and F.I.S.T. whereas it would be interesting to know his nowadays point, but the legend says little on the last. Documentary mostly on significant flicks. Certainly, much about Rocky, which associative with Stallone himself. Documentary very devoted on Rocky series. That’s everywhere mistake if anything takes bigger part while other compositions weren’t equally put as I don’t like This is Orson Welles has many pages on Citizen Kane. However, it isn’t strong describing on Rocky Flicks despite on discovery facts as about Sly’s vision on Rocky V and struggle for realization of Rocky VI.
Sometimes documentary Sly shows unique photos and the biggest thing it demonstrates pieces of footage of Horses, which can consider for Holy Grail in Sly Stallone’s films. Goddamn, I want the whole movie! It’s idea is masterpiece! The thespian says a lot wonderful things in which I see soulmate as his said on production of sequels from artistic point in when you want to add to what you’re having. I found a lot of similar on what he says. His words are his wisdom and there can be inspiration. Sometimes I didn’t agree, because he said from own experience. He should understand that you can’t choose both: making movies and devote time on family (though you can take family with you as some actors do, because there is no other good solution.). He speaks interesting, but I felt that many questions required asking and many topics were supposed to be discussed.
It’s more than likely that Derek Wayne Johnson could have made wonderful documentary about Sylvester Stallone. His John G. Avildsen: King of the Underdogs, 40 Years of Rocky: The Birth of a Classic and Stallone: Frank, That Is do spectacular research on Rocky and Sly Stallone himself as also hyping journey and useful satisfaction was reading series of Q&A on Ain’t It Cool News than watching this.
