As far back as we go, we’ve been making copies of ourselves. Whether for historical record, communication or art, recreating the self through imagery is literally as old humanity itself. Barf. Now, what does that intro – which I would label as ‘too grand’ on a college paper I’m grading – have to do with the masterful first seven shots (and the following fifteen that make up the fantastic three minute and twenty second opening sequence) of M. Night Shyamalan’s SIGNS?
A lot.
Posted in Uncategorized
Pixar’s shorts have a long history– even longer than their features, actually. And with the release of Brave comes the release of La Luna, the twenty or thirty-somethingth short film from the animation studio, depending on what you consider canon. There are the theatrical shorts and home entertainment shorts, as well as the series of Cars Toons and Toy Story Toons.
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Posted in Dailies
Tagged animated short, Animation, film, film review, movies, pixar, pixar shorts, short films, shorts
Once again, the issue being debated has been broken down into two sides; those for post-credit scenes and those against post-credit scenes. I’m actually going to take the middle-ground even if that makes me look flip-floppy or weak or who cares. So what exactly is my middling position? Some post-credit scenes are great, some are meh and some are terrible. Just like movies.
Posted in Dailies
Without spending too many words because too many have been spent already, the problem with ‘Vulgar Auteurism’ as a theoretical movement is not so much its goals as it is a fundamental misunderstanding of auteur theory.
Posted in Critical Analysis
Tagged andrew sarris, auteur, auteur theory, auteurism, francois truffault, tony scott, vulgar auteurism
The third film in a series always carries with it that extra bit of pressure. Ever since George Lucas’ original Star Wars saga, the idea of a movie trilogy has been put on a pedestal even though third installments are rarely any good and/or don’t actually signal the end of the series. While there is still some doubt surrounding whether or not Iron Man 3 will mark the last solo effort for this incarnation of the Marvel hero, Shane Black’s first foray into comic book movies is not only one of the best third installments of any film franchise but also the best in the Iron Man series.
Posted in Review
Tagged IM3, Iron Man 3, marvel, Robert Downey Jr., Shane Black, The Avengers
The Dardenne brothers, Luc and Jean-Pierre, have been making award-winning films in Belgium for a few decades, however, they haven’t really managed to make their presence felt in North America outside the shelves of dedicated cinephiles. The two time Palme d’Or-winning duo did receive their second Independent Spirit Award nomination last year for The Kid with the Bike but it’s past time the pair received an invite to the Academy Awards. Only to direct more people to their work.
Posted in Dailies
DR. STRANGELOVE: OR HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB for its brilliantly irreverent screenplay and Stanley Kubrick’s sharp direction. ETERNAL SUNSHINE OF THE SPOTLESS MIND because of Charlie Kaufman’s inventive script and Michel Gondry’s low-fi special effect magic. THE LONG GOODBYE sates my love of the noir and then there’s Robert Altman’s fluid style and groundbreaking sound. THE ROYAL TENENBAUMS is the work of true auteur and genius Wes Anderson, where everything is beautiful from the words to the compositions. And, finally, DIE HARD because it is the best action movie ever made with flawless set-pieces and great characters. Yippee-ki-yay, MFers!
Posted in Rushes
Tagged Die Hard, dr strangelove, eternal sunshine, royal tenenbaums, the long goodbye
In Hatfields & McCoys we are given an authentic, gritty look at the thirty-year feud between the two legendary families. While Kevin Costner is the stand-out, the rest of the cast’s performances grow on you and, by the middle of the first episode, have you fully immersed into the 1880’s West Virginia/Kentucky border. Since it was written for TV, the usual cliff-hangers tend to give the show an ebb and flow feel—almost like hiking to the top of a mountain but turning back because you ran out of time. Yet, the series’ shortcomings do not detract from the fantastic story, beautiful landscapes, the character development or, in short, the look and feel of Virginia/Kentucky at the end of the 19th Century. Continue reading
Posted in Review
Tagged Bill Paxton, Civil War, drama, Hatfields & McCoys, Kevin Costner, Powers Booth, Tom Berenger
Having missed Goon in theatre, I obviously was in no rush to watch (what I assumed to be) a tw0-hour dick joke that takes place in a hockey rink. Just recalling memories of Seann “Double N” Scott from American Pie and Dude, Where’s My Car? already had me in a semi-depression. Surprisingly, I got much what I expected: a two-hour dick joke on ice. Yet, it’s a very funny, well crafted, and incredibly satisfying dick joke. Michael Dowse, from Fubar fame, utilizes Scott in a way that doesn’t clash with the film’s wonderful writing and strong performances by downplaying his frat-boy persona. Thus, Scott’s restraint allows the film’s production values to shine, bringing Hollywood-esque, big-market visuals and ‘citment to the small-ish screen while showcasing the potential of the hockey sub-genre to our pals south of the border. Continue reading
Posted in Review
Tagged Doug Glatt, Evan Goldberg, Goon, Jay Baruchel, Johnathan Cherry, Liev Schreiber, Michael Dowse, Richard Clarkin, Seann William Scott
Twelve Years a Slave boasts one of the most impressive casts of any upcoming feature and Steve McQueen seems content adding even more big names. Or big names are just happy to join the acclaimed director’s third film. Either way, Benedict Cumberbatch is the newest star to board the adaptation that already features Michael Fassbender (McQueen’s Hunger and Shame muse), Chiwetel Ejiofor and Brad Pitt.
Friscalating Dusklight 