The Conversations #30: 3D
From Only the Cinema
The latest conversation between me and Jason Bellamy is now live at The House Next Door. This conversation is a bit of a different approach for us, as this time we focus on the phenomenon of 3D film, discussing the technology and aesthetics of this popular and controversial format. We concentrate especially on two recent 3D movies by popular directors — Martin Scorsese's Hugo and StevenThe Domain of the Moment/Duplicity III/Murder Psalm
From Only the Cinema
Stan Brakhage was always acutely aware of time in his work, even if only to disrupt it through layering and superimposition, the tools by which Brakhage frequently undercut the passage of time. Time works strangely in Brakhage's work: his editing is often fast, even frantic, and an image can last barely a second or two before being replaced with another, so the films seem to move very quickly,Adventureland (Greg Mottola, 2009)
From Read Write Hand
Adventureland is an especially good entry into the period coming-of-age film canon, its sharp eye for era detail, in the vein of Richard Linklater’s Dazed and Confused, never leading to over romanticising of its 1980s setting. Initially seeming to be full of stock characters and scenarios for this sub-genre, the film impresses in its leisurely, assured exploration of its characters, both major and minor, affording depth that elevates any stereotypical elements they may possess.
Its simple narrative concerns Jesse Eisenberg’s James’ post-college, pre-graduate school plans floundering as a result of his father’s sudden employment woes, resulting in James having to take a summer job in a provincial amusement park. Initially loathing his fate, he slowly becomes accustomed to his new surroundings, befriending the likes of Martin Starr’s Joel and Kristen Stewart’s alternately fragile and strong Em, and developing romantic feelings towards the latter. The dilapidated park itself seems to (continue...)
Review: Haywire (2011)
From An Odyssey Through Film and Nothing Special
Directed by: Steven Soderbergh
Starring: Gina Carano, Ewan Mc Gregor, Michael Fassbender
With the twilight of his career looming precariously on the horizon, Steven Soderbergh seems to be amping up his game substantially to further strengthen his already prolific and well-above average standing within the realm of contemporary cinema. While last year’s Contagion was, for all intents and purposes, an able-bodied examination of a world thrown into chaos following a disease outbreak, it failed to leave a lasting impression despite positive critical reception and Soderbergh’s technical expertise. The auteur’s second effort from yesteryear, Haywire, of which was questionably postponed until this first month of 2012, is essentially a streamlined action-thriller that marks a vast deparature from Soderbergh’s previous offering and remains more engaging in light of its tendency to alienate viewers who aren’t fully invested in its lead character and often complex narrative.
As an action-infused romp (continue...)
Review: Fright Night (2011)
From A Journey Through Cinematic Heaven and Hell
Fright Night | Craig Gillespie, 2011
Fright Night is one of the biggest surprises of the year. I never saw the original, but based on the treatment that studios gave to remake of classic horror films like A Nightmare on Elm Street and Halloween, and the recent bastardization of vampires that resulted from Stephanie Meyer’s”Twilight” I did not expect much. I’ve had various opportunities to watch the original, but to be honest, the whole “vampire next door” plot line didn’t really appeal to me. In fact, I would have never even given the remake a chance were I not in a state of obsession over “Doctor Who” and its players (or if it hadn’t been given to me as a present). But thankfully all my fears were put to rest from the first scene.
The movie starts with a view of a suburban street like any other at night. Then (continue...)
How Green Was My Valley
From Only the Cinema
John Ford's How Green Was My Valley is a gorgeous, achingly sad movie, a moving evocation of "the way things were" and the process by which the inexorable progress of industry and modernity slowly, steadily erodes the old ways, breaking apart the stability of family and shattering tradition. The film is steeped in the director's love of innocence and simple virtue, his rosy perspective on theReview: The Descendants
From A Journey Through Cinematic Heaven and Hell
The Descendants | Alexander Payne, 2011
The Descendants is one of those movies that makes me question the importance of critics. Since its debut at the Telluride Film Festival for the most part it has gotten nothing but praise. Is American cinema in such a sorry state that such a bland film with no directorial identity is being praised as one of the best American films in years? Yes, American films are not the best they could possibly be, but really?
The Descendants is the story of Matt King (George Clooney) a successful lawyer that lives in Hawaii and has plenty of money as his family owns big chunks of land throughout the state. But as good a lawyer he is, he wasn’t the best husband or the best father, and he now has to deal with that because his wife is in a comma and she’s not going to (continue...)