Showing posts with label Film. Show all posts
Showing posts with label Film. Show all posts

FILM

The Age of Eco Horror

the genre that hasn't quite caught on

By Olivia Meurk

The disaster is here

The environment is changing around us. Everytime I turn on the news it feels like I am just scrolling through a sick apocalyptic catalog of disasters. From local fires to global floods, there is fear and hopelessness and death. And really, I don’t even need to watch the news; my teachers are melancholic and cathartic, they bemoan what the young will have to figure out while prattling on about how it all used to be. My mom apologizes to me for the world that her generation has left to mine. I mean, haven’t you heard? We’re boiling now.

IDEAS AND FILM

YOU HAVE TO HATE HER

the trickiest misogyny trope on tv

By Maeve Mckinney

Trapped in misogyny

I know that you think you’ve overcome your misogyny, but I’m here to tell you that maybe the old bigotry has a few new tricks, tricks so deep in the culture that you can’t see them and that you can only react to them. Everyone hates when someone gets in the way of what they want and in a number of recent television shows/movies the burden of being the blockade has fallen squarely on the shoulders of female characters. As one redditor put it so eloquently about Skylar White in Breaking Bad, “She's just so perfectly hateable. It's like they spent years developing the most annoying character ever.” It doesn’t matter how big a feminist you are, a woman who gets in the way of the hero is going to inspire hate, your hate, and it all goes out the window when a woman gets in the way of a man’s fun. We literally can’t help ourselves. While the literary trope in itself is not misogynistic, it finds its perfect form in misogyny.

FILM

THE HIGH SCHOOL MUSICAL MOVIES

Or, your life as the best movie ever

By Vrinda Bindal

Look at those two

It’s New Year’s Eve and you’ve just sung karaoke with someone you’ve just met but it’s love at first sight. You know it, they know it, the guy who set you two up to sing knows it. No, that’s too cheesy, too dreamy. Is it though? High School Musical, released in 2006, was the first of a trilogy of the cheesiest, dreamiest movies you could ever imagine. Based on the lives of six characters in their final two years of high school, the movie starts with Troy and Gabriella at a ski resort on New Year’s Eve, who get invited up to sing. Two weeks later, they find out that they attend the same school. Incredible!

FILM

AN ESSAY ON JEFF GOLDBLUM

yes, really

By Eli Cather

He's fly

Since landing his first lead role as Dr. Seth Brundle in David Cronenberg’s The Fly (1986), Jeff Goldblum has been on a steady and escalating path to becoming “Jeff Goldblum”, a man who is more than “Jeff Goldblum” the actor, and the actor “Jeff Goldblum” who is approaching mythic status, or maybe I’m going a bit too far. He has starred in some of the highest grossing films of his era, including Jurassic Park (1993) and Independence Day (1996), along with a myriad of other lower-budget independent films such as The Grand Budapest Hotel (2014), The Life Aquatic with Steve Zissou (2004) and Earth Girls Are Easy (1988). He has even been known to branch out into different forms of art making, like directing the short film Little Surprises in 1996, or into the world of music in the last few years with his own jazz band.

FILM

THE MOST HUMANE ANIMATION

the very human art of stop-motion

By Jiwon Kim

Stop-Motion People in action

Many people think that we are living in a world of choice and that as artists we can tell a story in many different ways and that the choices we make are neutral and relatively unimportant. This is certainly true in the world of animation. There are so many different methods, styles, and forms. At this moment in animation, the choice is between the overwhelming dominance of computer animation and everything else, especially what I think is the most sophisticated and human form of animation: stop-motion animation. As a result, I am going to not only be writing a defense of stop-motion animation but also how it is a deeper expression of what it means to be human than computer animation.

FILM

THE FILM THAT CHINESE AUDIENCES ALMOST LOVE

the strange case of Big Fish Begonia

By Huiwei Feng

A growing fish

Big Fish Begonia is an epic Chinese animation film directed by Liang Xuan and Zhang Chun (2016). The story is inspired by Chinese Taoist philosopher Zhuangzi. Xuan studied at Tsinghua University as a thermal energy major and had a dream about a small fish who went to the sea and kept growing. He loved his dream and told his classmate Zhang Chun about it. The two decided to make a short-animated film, which not only won a lot of awards, but also got the highest number of clicks on the Internet at the time. With this encouragement, they decided to make Big Fish Begonia into a full-length film.

FILM AND IDEAS

CLIMATE CHANGE AND FILM

3 ways to an easier understanding

By Andy (Guanyu) Ding 

This is the future

Climate change is today’s biggest issue. However, not everyone has a clear vision of what the problem is. Everyone agrees that it will be a disaster, but at the same time we keep on treating it as if it’s a problem that will happen in the far-off future, when in reality it is a problem of the right now. Since we are people, we are lazy and since we are lazy, we wait for messages from anywhere to tell us what to do. Luckily for us, those messages are starting to come in with greater frequency and from a wide variety of sources. I want to look at one source, the movies, and see how they’re starting to deal with the issue of climate change. From movie to movie, they certainly don’t approach the problem in the same way, but that’s what makes these attempts so interesting: the strategies they use to try to make us realize the world is dying. So, here are three cinematic takes on climate change, all well-intentioned, and all quite unique: Ice Age 2, Snowpiercer, and Before the Flood.

FILM

CREEPY BUT BEAUTIFUL

Satoshi Kon's Perfect Blue is Perfectly Disturbing

by Mirror Tang

A different type of anime

When I was seven years old, I saw Hayao Miyazaki’s Spirited Away for the first time. I was hooked and watched more and more Japanese anime. I loved the way Miyazaki and his proteges emphasized courage, friendship and adventure. However, the summer after graduating from high school, I accidentally watched an anime film that did not fit this description--Satoshi Kon’s Perfect Blue. The whole film had nothing to do with friendship, or love, or heart-warming stories; instead, it made me extremely upset and uncomfortable and yet I immediately fell in love with this strange film. Its creepy style and moving story have polarized audiences around the world. Some say Kon is a genius, a fortune teller, some think he shouldn’t be making animated films at all, I think he is doing something quite special and fascinating.

FILM

TRICKY HORROR

the troubling aesthetic of Ari Aster

By Jamie Rose Valera

Every moment is awful
American filmmaker, Ari Aster, gained a tremendous amount of attention after the opening of his horrific drama, Hereditary, which premiered at the 2018 Sundance Film Festival and starred a magnetic Toni Colette as a mother who goes way past traditional notions of parenting. Its 80-million-dollar-plus box office take attested to the fact that Aster had hit upon a nerve in the culture. He went back and hit another nerve with his next film, Midsommar (2019), another drama of family and community gone wrong in ways too numerous to count. Although he seemed to come out of the blue fully formed, Aster has been honing his unique vision of the world for quite some time and specifically in a series of short films that preceded his hits. His MFA thesis at the American Film Institute, The Strange Thing About the Johnsons (2011) shows that Aster’s ideas and cultural preoccupations were already strange, disturbing, and fully thought out before his breakout hits.

FILM

A STUNNING TECHNIQUE

the startling achievements of Satoshi Kon and Edgar Wright

By Karina Suffle

Every mind is a state of mind
When we think of art, we think of something visually appealing. Cinema, or the motion picture, is the world's most recent visual art form and might be its highest because it incorporates writing, story-telling, photography, drawing, painting, animation, visual effects, music acting and other skills that can help support a visual medium. For generations, filmmakers have been developing artistic principles for how to create, construct, and experiment with the form of film.

FILM

MURDER IS EASY: LIFE IS FRAGILE

the strange confessions of Tetsuya Nakashima's Confessions

By Ruoxuan Wang

A teacher and her students
It all begins with noisy students: They’re laughing, drinking boxed milk, sending text messages to each other, ignoring their teacher. It’s essentially a basic Japanese middle school scene. The laughter gradually stops when the teacher talks about her daughter’s death, and her boyfriend, the girl’s father who had HIV and died. Then she adds: “Manami is dead, but it was not an accident…She was murdered by two students from our class.” Finishing up, she says, “I will teach you something important” and writes the word “LIFE” on the blackboard. This is the beginning of her revenge and the opening of Tetsuya Nakashima’s Confessions. The Japanese pictograph for life is the key to the film. For all its nuttiness, crazed characters, and improbable events, Confessions is essentially a realistic depiction of how fragile life is and how joyfully people go about destroying it. Nakashima structures the movie around a series of confessions that prove the same point over and over again: it’s easy to kill and destroy.

FILM

A SERIES OF MURDERS IN KOREA

becomes a reflection on national identity in Bong Joon-ho's Memories of Murder

By Jae Young Jang

Korea must choose one detective: but which one?
Now everyone knows who Bong Joon-ho is. After Parasite won the best picture Oscar for 2019, Joon-ho seemed to come out of nowhere, but he is no newcomer to the scene. Anyone with even a slight passing knowledge of Koren film knows that he has directed a number of striking films before Parasite. His serial killer puzzle, Memories of Murder, premiered in 2003 and it might be his best film. Joon-ho found inspiration for his movie from a series of murders that took place in Hwaseong, Korea and came up with his own vision of the investigation. Like all of Joon-ho’s films, Memories of Murder sheds light on social tensions in Korea. This movie eventually asks one basic question: Are we moving toward the right form of democratic society or are things getting worse?

FILM

EVERY TIME A MASTERPIECE

the greatness of Hayao Miyazaki's Spirited Away

By Zilin Yuan

A Strange Masterpiece
Hayao Miyazaki’s Spirited Away was re-released in China in 2019 and was yet again, as if we needed reminding, heralded as a masterpiece. It is a movie that is universally acclaimed and seemingly popular in every single culture in the world. People just don’t love it, they gush over it, give it to friends, insist that those who haven’t seen it go and see it, etc, etc, etc. It gets rereleased again and the whole process happens over and over and over. It is clearly a great film, but what is it really about? That seems dumb, but it’s actually a bit harder to answer than you would think. Lots and lots of people have lots and lots of ideas about what the movie is “really” about. When you start reading and categorizing all those opinions, you realize that part of the film’s greatness is that it either continually means a lot of things to people or that they identify with many of the different characters’ imperfections. And that because the characters are so imperfect, viewers feel that they can grow and improve with them.

MOVIES

PERFECT CARNAGE

John Wick 2 and the Art of World Building

By Scott Whitney

Keanu knows Gun-Fu

Before we talk about Chad Stahlelski, perhaps one of the most interesting directors of recent years, we need to mention that this is the first time since The Matrix that we’ve seen Keanu Reeves and Laurence Fishburne together. What else needs can you say? This is the second John Wick Stahlelski has directed, the first being in 2014 and whether you saw it or not this one will give you exactly what you paid for: guns, guns going off, and more guns, as well as Keanu Reeves’ ability to form meaningful relationships with just about everyone using the fewest words possible. If you saw the trailers, you saw the movie. Unlike most movies that do this, John Wick 2 movie gave you more of the same with a huge emphasis on the word more. And let’s be honest more is all you wanted from the movie in the first place.

MOVIES

SWISS ARMY MAN SOARS

on the knowledge that we're all human even when we're dead

By Scott Whitney

Ride the Dead Fart Machine!

Daniel Scheinert and Daniel Kwan directed Swiss Army Man, starring Paul Dano, Daniel Radcliffe, and Mary Elizabeth Winstead, with their eyes fully on that middle ground between comedy and drama. This is the duo’s first major release and it must have been quite a coup to get a cast of mid-range stars. Since Winstead has been John McLane’s daughter in the entire Die Hard Franchise it isn’t surprising that she wanted something new. Dano is clearly looking for challenging roles—he received a best supporting actor Golden Globe nomination for his portrayal of Brian Wilson in Love & Mercy. And Radcliffe, is a wizard. Or was.

MOVIES

PROMISES, PROMISES

Kong won't even give me giant ants

By Scott Whitney

Yeah, I'm bad, one bad mother-fucking movie

Jordan Charles Vogt-Roberts directed this movie and unless you’re a Sundance film groupie or historian or both his name won’t mean anything to you. It certainly didn’t mean anything to me and I’m not sure after Kong it ever will. Executive producer Ridley Scott does mean something and you’ll find his influences all over Kong, though probably not in any admirable way. But we’re name-dropping now, which happens to be the most successful thing the movie does. Whatever Vogt-Roberts pitched to get this thing made, he clearly mentioned The Dirty Dozen, Apocalypse Now, King Kong (all versions) and a little liberal wink-wink to indigenous people. It’s one of those films, or really a dozen of them.

FILM

THE GENIUS OF POPCORN

an attack on Oscar Bait

By Kaley Bales


How do we value movies? Acting? Actors? Sets? Costumes? Critics? Director? Cinematographer? Soundtrack? Box office? Maybe the poster seemed interesting? A review in the paper? The aggregate score on rotten tomatoes? No, Oscars! I know that’s what you’re thinking. Every year the Oscars are there to tell us what is the best. So it should be very simple, just watch the Oscars, note the winners, cue up your Netflix, and you’re off to movie Heaven! But here’s the thing, only a fool or a masochist would want to sit down and watch the last twenty winners of the best picture Oscars. The winners are generally liberal-minded, do-gooder, sentimental pieces of pseudo drama. While the best films (the ones we like to watch) are not the avant-gardes, not the important, or the noble, but the films that rack up ticket sales like crazy. Popcorn movies! The movies where, at the time of their release, are dismissed as being there just to make a good buck and to entertain the masses. Well it turns out ‘fluff’ is what stands up. Personally I’ve always been a popcorn movie lover–Grease, Ferris Bueller’s Day Off, Home Alone. Are they philosophically deep? Will they help you adjudicate the death penalty? Will they give you the answer to our immigration problems? Will you study them in film school? Not necessarily. But boy if they aren’t entertaining as hell, and entertainment is underrated.

FILM

ENNUI PARTY FLICK 

a consideration of a new genre

By Leah Dubuc

She's ready to party ennui style!
I know it may seem like there are an unlimited amount of films about affluent teenagers with no goals in life except to get money, party and be idolized by their less successful peers—the supposed audience for these films. If you think about it, you realize that they’re actually aren’t that many, but after watching a few it feels as if you’ve seen a thousand. 2013 marked the release of two landmark works of a genre one might call, “ennui party flicks”: Harmony Korine’s Spring Breakers and Sofia Coppola’s The Bling Ring.

FILM

THOU SHALL NOT TRESPASS

Michael Haneke's aesthetics of shame and terror

By Megan Cerminaro

I'm looking at you
My mother and I have been avid “theater-hoppers” since I was a child. Even though we’re sort of cinema snobs, we’ll generally see anything, anywhere and at any time. And we especially like to catch Hollywood’s trashiest genre by reputation and actual product, the horror film. Seeing people sliced and diced on the silver screen is a great way to catch up on mother-daughter time, and when we spotted the poster for Michael Haneke’s American version of Funny Games, starring Naomi Watts, Tim Roth and Michael Pitt, we thought, “Why not? Let’s grab some popcorn, some sodas and soak up a few blood-soaked scares.” I can’t quite remember whether we ambled or shuffled into the theater, but that was the last carefree moment of that particular day or week or month. What we saw, all one hundred and eleven minutes of it, was not another standard slasher film, but a relentless attack on the very impulses that brought us into the theater in the first place. Haneke had caught us and once he had us he wasn’t going to let us go. I can still remember my mother relentlessly asking over and over again: “Why did we go see that movie?” It’s a question I’ve asked myself ever since, and I ask it not because the movie was exciting or scary, though it was both, but because it made me feel shame. I was ashamed by what I had seen, and I wanted to know more about the filmmaker responsible.

FILM

THE EVIL DEAD VS. EVIL DEAD

a review of The Evil Dead remake Evil Dead

By Meagan Cerminaro

Fun with Bruce Campbell
In 1981, director Sam Raimi produced, or maybe better put, birthed a film that balanced the razor sharp edge between campy humor and blood-drenched gore, sparking a devoted cult following amongst horror fans. That movie was The Evil Dead. With a budget of only $150,000, Raimi embraced the grimy aesthetics of many low-budget horror films of the 1960’s and 70’s, but added a wink to the gore that elevated the material from the grindhouse to the art house. The story is so simple it should be outlawed and even back in 1981 it was hardly what one might call new. Yet it has spawned so many “evil dead” children that ABC News’ David Blaustein could opine that it is the mother to one of the most abused horror movie clichés of all time: “naïve college or high school kids, alone in a cabin or other secluded area, making predictably dumb decisions that will only make their situation worse.” These limitations didn’t stop Raimi and Bruce Campbell, his star and high school buddy, from transforming The Evil Dead into a three-part epic trilogy whose most complicated special effect was cream corn dyed green for zombie guts.