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Chaos Cinema: A video essay detailing the decline and fall of action filmmaking

You learn something new every day! I love that there are people out there who do this kind of thing for a living.

Chaos Cinema is a two part video essay by Matthias Stork analysing well constructed action sequences and techniques; the recent Hollywood trend of faster, overstuffed, hyperactive action filmmaking; how sound design has improved dramatically to compensate; its effects on dialogue, and the rare occasion where it is used well.

Chaos cinema apes the illiteracy of the modern movie trailer. It consists of a barrage of high-voltage scenes. Every single frame runs on adrenaline. Every shot feels like the hysterical climax of a scene which an earlier movie might have spent several minutes building toward. Chaos cinema is a never-ending crescendo of flair and spectacle. It’s a shotgun aesthetic, firing a wide swath of sensationalistic technique that tears the old classical filmmaking style to bits.  Directors who work in this mode aren’t interested in spatial clarity. It doesn’t matter where you are, and it barely matters if you know what’s happening onscreen. The new action films are fast, florid, volatile audiovisual war zones.

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The Shawshank Redemption [spoilers, duh]

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The Shawshank Redemption. A fascinating look into the psyche of men and their perceived notion of safety, freedom and self-worth, if the only life they are familiar with is that inside a prison.

I’d heard a LOT about this film, and all things considered, it doesn’t live up to the unbelievable reputation it has. For all I’d heard about it though, I’d never read the plot, and my expectations of the main character—Andy Dufresne, played extremely competently by Tim Robbins—were way off the mark, and I was pleasantly surprised by the direction the film took, turning into a clever prison break, and me realising how much the TV series Prison Break borrowed from this film.

The highly resourceful Andy Dufresne remains the same man through it all, not letting prison get the better of him, and bettering the life of other inmates, but this film is about Morgan Freeman’s Red and the change he goes through in his mindset, and he puts in a damn fine performance! Honourable mentions to a crazy William Sadler and scumbag warden Bob Gunton.

Uplifting and filled with hope as it may have been, with the reunion at the end sending definite chills, I’m still not 100% sure Andy didn’t commit the crime he was in jail for. Knowing this was written and directed by Darabont, and the twisted ending to The Mist I absolutely adored, I really thought Freeman would find a murder weapon or something that incriminated Andy. Alas.

UPDATE:

Had a discussion about this on Reddit, increasing my understanding of why people did like it so much, and someone made the very good point that my proposed ending would have gone against everything the film stood for.

Darabont is an extremely intelligent fellow. He knew much better than to incriminate Andy. That would have worked against everything else in the film. Andy wasn’t a great man, but he was honest to his word, that was what Darabont built his entire character around.

 

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Green Lantern [spoilers, duh]

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Green Lantern. Fuck you, Hollywood. What disgustingly impressive willpower you’ve used to destroy my favourite superhero.

The first theatrical trailer made me nervous. One TV spot after that completely changed the tone, and there was hope. After the first set of mixed reviews and universally bad consensus, all hope was gone, and I’d been contemplating whether I wanted to put myself through this. The first fifteen to twenty minutes held my attention, and I thought maybe my incredibly low expectations may have saved me. No, no they didn’t.

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Going to Movies with a Critic: A must-see for any movie buff!

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This just made my Saturday! A wonderful 25 minute video taking us behind the scenes and thoughts of Roger Ebert and Gene Siskel in a classic episode of At the Movies titled Going to Movies with a Critic.

Both Ebert and Siskel talk about their thoughts before going into a movie, their expectations, their pre-movie rituals, where they sit in the theatre, what they’re thinking during a movie itself, and how they analyse and review it afterwards. 

David and Margaret? Puh-lease.

If you’re a movie buff, or even mildly curious, you *have* to watch it!

Going to Movies with a Critic

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Nerdist Writers Panel #1 – A fascinating insight into writing for television

I was listening to TWiT this week, feeling strangely nostalgic while stumbling home, reminiscing on all the hours of laughs and knowledge it has given me, and an introduction to podcasts in general. I’d listened to the LOST podcast religiously for years of course, but TWiT got me listening to so much more, making commutes not a complete waste of time in the process. When I stumbled across the page for this Nerdist podcast via /r/television, I wasn’t quite sure what to expect, and had never even visited the site before, but knowing I’d hear Damon Lindelof talking LOST again for at least a small part of proceedings was enough, and 100 minutes later, I feel like writing a pilot!

The Nerdist Writers Panel series is an informal chat moderated by Ben Blacker (co-creator of The Thrilling Adventure Hour, writer on CW’s Supernatural) with professional writers about the process and business of writing. Covering TV, film, comic books, music, novels, and any other kind of writing about which you’d care to hear. Proceeds from the series benefit 826LA, the national non-profit tutoring program. Recorded live at Nerdist Industries at Meltdown Comics in Los Angeles. 

Episode one features: Damon Lindelof (Lost); Jane Espenson (Buffy; Battlestar Galactica; Torchwood); Erin Levy (Mad Men); Drew Z. Greenberg (Buffy; Warehouse 13).

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Patents, trolls, Google, and the rest of this mess.

It’s been a fun day in the world of technology, and for all the wrong reasons. David Drummond, Senior Vice President and Chief Legal Officer at Google kicked things off with, what in hindsight I’d see as a good ol’ fashioned bitch.

But Android’s success has yielded something else: a hostile, organized campaign against Android by Microsoft, Oracle, Apple and other companies, waged through bogus patents.

I’m pretty sure “bogus” hasn’t been put in quotes as much in a day. Ever.

Now is as good a time as any to provide some background on the broken software patent system by pulling out some dialogue from a recent episode of the greatly insightful This American Life podcast, When Patents Attack!

Companies that make no products, but go around suing other companies that do make products, over supposed patent infringement are so common in Silicon Valley these days that there’s a derogatory term for it. Trolls. Or patent trolls.

Because patents are so broad…

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Hanna [spoilers, duh]

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Hanna. Thrillingly shot action and chase sequences, with a perfect accompanying score [of the year for me] from The Chemical Brothers!

Saoirse Ronan turns in another stellar performance, leading the cast in fine style, and putting the action heroes of recent times to shame. Fierce and frightened, coming to grips with the [and her] world at large, Ronan demands your attention, even when the script loses some of its focus and runs astray.  Eric Bana proved solid, Olivia Williams you can never go wrong with, and Cate Blanchett’s villainous, caricaturey turn was most entertaining, along with her oddly dressed, whistling minions.

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The National – About Today

Watch it in full screen. The immersion adds an unbelievable amount to it.

“Today
You were far away
And I
Didn’t ask you why
What could I say
I was far away
You just walked away
And I just watched you
What could I say

How close am I
To losing you

Tonight
You just close your eyes
And I just watch you
Slip away

How close am I
To losing you

Hey, are you awake
Yeah I’m right here
Well can I ask you
About today

How close am I
To losing you

How close am I
To losing”

What can I say? This song is a mess of melancholy beauty. Matt Berninger’s baritone voice, the violin, the addition of the brass, the simple, yet deeply emotive lyrics, and the elation at 5:15 when it kicks into overdrive. I love it. I really, really love it. I was at peace and oblivious to the torrential rain surrounding me while walking home today, and felt this very out of place entry deserved a place on this blog.

The first version I heard of About Today was the live performance (audio only) that sits on The Virginia EP, but I was on the train today and saw the version above and fell in love all over again.

My only regret is that they didn’t play this live when I saw then at The Enmore earlier this year.

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12 Monkeys [spoilers, duh]

12 Monkeys. Bleak, dystopian time-travel sci-fi done right.

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Time travel and paradoxes. Hollywood finds this impossible to do well, and time and time again, I’ve hated how this school of time travel has been subscribed to by TV shows and films, but I loved the way 12 Monkeys approached it.

12 Monkeys was pretty clear with its time travel rules and what I’d classify as an unhappy [happy for me] ending. Cole gets a second chance, seeks a new life filled with hope and happiness, dies. Boom! Its ending however, leaves some room to be discussed.

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Farewell, Mr. Potter

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Boy, have they come a long way. 

Sometimes, you lose track of how ridiculously big the Harry Potter franchise has become, but then you hear it’s raked in $95 million in a day, and is set yet again, to break all kinds of box office records, and for once, I’m ok with that, because Harry Potter and the Deathly Hallows: Part 2 was a magical end.

It’s been 12 years since the first Potter book graced my hands, and I still remember a car ride to Kiama being all I needed to get through the Philosopher’s Stone. I was a voracious reader back then, but by the time I finished the Deathly Hallows, reading had become a rarity for me, and more than anything, I was just glad it was over.

I’d never bothered with the films, but I remember how much I loved the Half-Blood Prince, and with my love of film slowly increasing, I thought it fitting to see it on the big screen, and saw the others in preparation over a few days. The escapism and wondrous nature I got with reading them initially were replaced with feelings of “Why am I bothering with these childish movies?” They did get somewhat better, and I didn’t mind the Half-Blood Prince or part 1 of the Deathly Hallows, but they were nothing special.

I loved part 2.

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