|Posted on June 2, 2014 at 1:50 AM|
Not only a great piece on visual storytelling, but a great piece on why Wright is one of a few directors who understands how to direct comedy. I’m in total agreement on the argument being made here: a lot of comedies are just static cameras and people saying dumb things. There’s exceptions, sure (21 Jumpstreet most recently comes to mind, I’m reminded of that great “tripping” montage) but most are just bland and boring scenes with actors trying to make it funny. There’s nothing really pulling you in.
For example, most of Will Ferrel’s movies. I like Will, he’s funny, but a lot of his movies don’t really work on a visual level and I tend to never go back to them. Wright’s movies, or Monty Python or other examples brought up here, I’ve seen a million times. Hell, Blazing Saddles is a wonderment of great visual comedy utilizing great pan shifts and editing that are still better than most comedies out today.
Wright’s departure off of Ant Man is saddening but not surprising. The reason he is so great is the reasong Marvel probably wanted to reshape his voice. You can’t do that to someone of Wright’s caliber. You can’t go up to him or a Wes Anderson or someone who has a very distinct voice and say “Don’t do that.” They’ll just bail.
It’s a quick 4 minutes but it’s a fun quick lesson of science fiction going back to the turn of the century. Watching this, you can see how timeless science fiction is. A lot of those movies are still great and relevant today. It’s also a great checklist for getting into science fiction. I’m going to have to see Fraud in Mond and Abre los Ojos (Open your Eyes) to complete this list. I’ve seen the remake (Vanilla Sky) but not the original. Guess it was one of those that just slipped past me.
A great collection of great openings. The surprise is only one James Bond movie, and one I would say is, maybe, only top 5 best James Bond openings. In fact, I’d say it’s only the second best Brosnan opening - the opening to the rather forgettable The World is Not Enough is stellar and the best part of that entire movie.
Friedkin has made some of the best films of all time, and this look at his style and technique is pretty awesome. Now I feel like watching The French Connection again.
I’m liking me some Fargo, and you should be too. It’s a damn good show despite some spotty CG here and there. The actors are just great. So I’m thinking it’s only a matter of time before other producers think about other movies to turn into limited series (or series).
Some on this little list are great. Fletch and Men in Black could easily be an extended series. Pulp Fiction would be great as a limited 13 episode series or something. Skeleton Key and Superbad? I don’t know how having a limited series or extended series on either of those would work. Wired also did a list and outside the Big Lebowski, which I feel was pretty self-contained and not needing expanding, it’s another nice list.
Some I would throw into the list:
Master and Commander - A great movie that really would fit nicely into a limited mini series or something.
Road House - A weekly series about a struggling bar and a philosophy-spouting bouncer that rips out throats? Why not?
Heat - Love the movie, but a limited series? Maybe even directed by Michael Mann? Sign me up.
T-Shirts of the Week
Nixinig Winston again, are we?
Truly Genius, here’s a few of my favorites of these movies put to classic movie styles and stars.
One of the best surprises from TV recently is The Goldbergs. It’s essentially That 80s Show but done less about parodying the era and more re-living it pretty damn accurately. I’m still going through the first season and truly loving it. There’s a warmth and sweetness here along with a bit of Wonder Years meets Arrested Development type of meta humor. It’s really good.
You know you want it.
20 Minutes of Nic Cage laughs in every movie. Wow. It’s essentially watching a slow drive into madness. To think a good ten years ago or so this type of thing didn't exist...maybe it should have stayed that way.
An extensive article about early Hollywood. It’s very detailed and extensively researched. It’s a great bit of film history.
Get out your double browser windows. This article is actually pretty old, but for some reason it appeared in my feed. So, naturally, let's dissect it, shall we?
#6: This isn't the first time I've seen Raiders in a Cracked article. I've probably seen it more than any other film, with only Empire Strikes Back, Chinatown and The Thing maybe up there in that "lost count" field. It's a perfect movie so, naturally, I know a lot about it because of that.
But come on, you don't need to see the movie countless times to know this is a stretch. Put your self in Dr. Jones' showes. You just had the Ark stolen from you and you clawed your way out of the Well of Souls with your dame. You're pissed...the last thing you're going to do is sit back and say "oh, well I'll just wait until they open it and die." a) He doesn't know what will happen when it does open, only that it will, most likely, not be very good and b) He doesn't presume they'll take it to Hitler right away and open it at some ceremony with thousands of Nazi's. (That's why they take it to a deserted island to "test" it before bringing it to him. To Indy, that's his prize. It's not necessarily about the Ark for most of that movie as much as it is his pride. That's what people forget about, he's kind of a selfish dude and he really doesn't grow out of that until Last Crusade where he risks his life for his father.
#5: Agreed. I never liked that movie or that book for the same reasoning: it's all convoluted and all over the map and character motivations just feel really weird. The idea is cool (Wizards in a competition) but the execution? Potential death to students? That's not very whimsical at all. That beieng said, the article doesn't quite get it right because the magic is bound to Harry and if he refuses some deux-ex-machina will take away his magic. Stupid? Yes, but it's explained.
#4: This writer fails to realize that the "figuring out the death" is the means, not the end. Those men died but that's just one part of a larger picture, which is why they don't just have a big note saying "This is what happened." Also, let's try to have a little bit of suspension of disbelief. Most everything in movies like these are contrived because that's how you create coflict and suspense.
#3: Maybe? I guess? I don't recall that being the linchpin to be honest. But if it's true all he had to do was reach for a phone then that's stupid.
#2: Didn't bother reading. It's Twilight. Bad writing is kind of its main element.
#1: It was an oversight to not at least say the shield generator was heavily guarded with surface-to-air lazers or ion cannons something but the shield generator is protected underground primarily and the dish is still protected by the shield its generating.