discussion
Our relationship with extraterrestrials has been a bumpy ride to say the least, but why is Hollywood so fascinated with them? Who has contributed to this ever-changing portrayal of extraterrestrials? And what are the many faces of alien life?
Looking back at Daniel Craig’s years as James Bond, there is one scene in particular that transformed him, taking place in Casino Royale.
What is not my definition of a strong female character is throwing together an overly sexualised outfit for a female actress and giving her a gun and some one-liners and then declaring that “sexism is over”.
Belgian firm Barco recently made a move to present a new large-format viewing experience, alongside theater-chain in-house offerings, like Regal’s RPX premium experience, AMC Prime, Cinemark XD, and industry stalwarts like IMAX and RealD 3D. The Escape format uses three screens, with a center screen flat and straight ahead, like any conventional theater – the twist is the two side screens, angled, creating a viewing experience that gives the appearance of wrapping around the audience – a 270 degree panorama. With VR emerging on the scene right now, exhibitors will be looking for ways to provide new and different immersive viewing experiences.
There is one movement cinephiles can thank for heroin addicts sinking into carpets and rose petals exploding from cheerleader’s chests: Surrealism. Not only has the movement influenced some of the most iconic films to date like Trainspotting and American Beauty, throughout the last century surrealism has completely turned cinema on its head; creating a new wave of film that drags reality into the world of insanity.
Anthology films are generally regarded as being uneven, and even ones that are respected are sometimes not perfect through every single segment. I wanted to explore anthology films by looking at some with mostly negative reviews, hoping to find something great hidden within. Some of the films I watched in preparation were bad, with no moments of relief to help make it through their running times, while others were enjoyable with slight problems.
Paradoxes are not discussed widely in cinema, firstly because they are difficult to understand. Secondly, they simply mess with everyone’s fun. However, they create interesting arguments, and the time travel genre is a great fan of the ‘why not?
Nineties psychological horror The Blair Witch Project wasn’t an instant hit. Though a triumph with critics, its box office success was slow, but it now stands as one of the most financially successful independent films of all time, and as a forefather of the found footage trend. Not only did The Blair Witch Project pave the way for found footage horrors like [Rec], V/H/S, and the Paranormal Activity series, sci-fis and fantasies like Cloverfield, Trollhunter and Chronicle also used the format.
It now appears to be a given that every few years, Woody Allen produces a film hailed by critics as a “return to form”. In keeping with relatively recent late period offerings such as Blue Jasmine, Midnight in Paris and Vicky Cristina Barcelona, Café Society has also been afforded that accolade. Is this lazy journalism or a concise way of communicating that he has again crafted a film that bears the hallmarks of this aging auteur’s better judgement?
A largely-overlooked but critical element in an action film is its ability to tell a story with sound. Dialogue and musical score notwithstanding, sound cues and effects are incredible tools for storytelling in the genre; subtly adding depth and detail without ever compromising action or hogging screen-time. Given recent advances in the field of sound technology, filmmakers are even now using these techniques to great advantage in crafting critically-acclaimed action films.
In the world of the action film, sound and its importance to storytelling are very often overlooked. Usually, it is an afterthought, a surprising enhancement of whatever happens to be on-screen: thus, BOOM.
Post-traumatic stress disorder – abbreviated as PTSD – has been a subject in film as far back as the 1946 John Huston documentary Let There Be Light. Since the Invasion of Iraq, it’s become a prevalent concept. One of the most original to have been made is Martin Scorsese’s 1976 classic Taxi Driver.
Though film is an inherently collaborative medium, requiring careful cooperation of dozens of individuals, there are two roles that get singled out as being most responsible for the final product. Representing the technical marvels behind the camera and the beauty in front of it, directors and actors are Hollywood’s lifeblood, providing a face for the art that took the efforts of countless unseen. Sometimes, a director/actor tandem proves so gripping or successful, that a personal and professional bond is forged, and the two continue to work together; sometimes it’s a brief burst, while other times it’s a career-long relationship, but often the familiarity working teams have with one another results in a film of elevated artistic achievement.
Because the Internet can take a person virtually anywhere in the world and provide potentially infinite vats of knowledge, raising children in a dictatorial environment nowadays seems more ridiculous than ever. The mechanics of detaining an adult with an existing awareness of the outside world is even more bewildering, because chances are they’ve read about the Josef Fritzl case and have at least some idea of how to escape. Alas, cinema, ever the portrayer of such cultural terrors, has provided startling means with which to explore such a phenomenon.
Recently, I had the chance to tour the National 9/11 Memorial and Museum in New York City, which, as you can imagine, is quite a somber experience. Amid the thoughtfully presented exhibits, I started wondering about 9/11 as portrayed in film. Now, when I say “portrayed” I’m not talking tangentially, as when 9/11 is used to jumpstart plot (e.
