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Message: <blockquote data-quote="reapersaurus" data-source="post: 1136169" data-attributes="member: 1194">No, no, and no.That is stunning how far someone can read into a movie with almost no shred of frame to support it, but you are certainly entitled to that cool analysis, and if it makes the movie better for you, than more power to you.However, when commenting on the movie we are limited to what the director and editor chose to display in the scenes.Very little movie time was spent on Michael/Selene relationship. That's fact.There was a comparable amount of time spent on the Selene/Kraven relationship, and the Viktor/Selene relationship, but I wouldn't call them what the whole movie was 'about'.I really don;t think there was one thing the movie was about, other than the Lycan/vampire war. THAT's what dominates all aspects of the movie in my eyes, even encompassing everything you said.Selene didn't 'grow'. All she did as a character was to get a woody for a caring HUMAN, who ended up getting bitten by a Lycan while under her protection. She was only even in the same scene as Michael one time once he 'became' a Lycan. All the others, he was a human in the process of transforming, and she was continuing her protection of him.Then she got revealed to her the true identity of who killed her family, and then she killed her sire for it. That's not growth. That's not transcending one's nature and character - that's just Revenge with a tinge of horniness for Michael (who just happens to be part Lycan) thrown in.Your theory is dependant on Selene's acceptance of all Lycans, and that's not supported or implied in the film. She simply fell for a human. That's it. She was killing Lycans all the way thru to the end of the movie, unless you saw a different version than I did, with extended footage at the end. She even created the Abomination solely to save Michael's life (and likely to kill Viktor) - not for any greater purpose or transcendant reason.So her character goes from:a) Hating all Lycans (and many vampires). to B) Being intrigued by a human she saw risking his life for someone else, and who's being hunted by the Lycans. You could easily conclude that her interest in Michael at this stage was more fueled by her distrust/fear/suspicion of the Lycan's motivations in hunting Michael than in any other reason.c) Then Michael got bit, AND she started to question the past (seeing the locket on Lucian).d) She continued to protect an infected human.e) She defies tradition to expose the plots going on, and her suspicions from the past, Lucian being alive, etc. Still very soldier-like.f) Michael gets taken, she goes in to kill Lycans and does so.g) She's told about the past, bites a dying Michael, and kills her sire for killing her family.end of movie.Where's the growth there? I've seen more growth on an apple I set out overnight. Learning about plot reveals is NOT character development. That's story development.This movie was all about the story, and just used the characters as chess pieces to put their war-story in action. I dig that.In fact, I can't think of one character that even had a change of approach, or world-change in the movie. Every character stayed exactly the same - ahha! Except for the blonde who simply switched sides, from Kraven to Selene, after she realized she wouldn't ever be Kraven's Queen.About Selene's "love" of Michael - where exactly was that established in the film? Because other than the blonde saying (prematurely) that she liked him from looking at a picture, and then Kraven politically painting her as a Lycan sympathetic that liked (loved?) Michael, I seriously can't remember many parts that effectively established Selene's "love" of Michael. She was protecting an innocent from the Lycans. That's not love. She didn't kill him when he was infected. She kissed him when she left him in the 'safe house'. If it wasn't for her easily-missed reaction as she closed the door on that scene, I daresay that one could make a case that she simply used Michael as a weapon in the War. There's just as much substance on screen to conclude that (I'd wager there's more frames which support that radical of view than support your idea, Kai).Other than the film being billed as a "Romeo & Juliet" between vampires and werewolves (which is simply MARKETING) I really don't remember seeing it onscreen.Anyone help jog my memory? - I easily may have missed some.</blockquote>

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