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My fear of car crashes in film and television

I have a condition. Ok, no, it’s more that I’ve been conditioned. Every time I’m watching a movie or TV show, and there is a front-facing or side-on shot of the driver and or passenger in a car, I fear for them. It may be the happiest movie of all time, but I fear for them.

It was the 2nd of 3rd year of uni, and I was sitting towards the back of a lecture theatre watching the season 4 finale of Alias. In the space of 10 seconds, I heard “well, for starters, my name isn’t Michael Vaughn”, and before I could even gasp at the revelation, I jumped out of my seat, startled at that car crash.

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Cafe de Flore [spoilers, duh]

‘Cafe de Flore’. Love, its dizzying highs and lows, and everything else in between, in this brave, stunning, deeply affecting film. 

I am still reeling from this thing, three hours later. What starts as two seemingly separate, simple stories about love, takes a very dark, spiritual turn, and in the process, explores “love” in its many forms.

I say two simple stories in relation to where the story goes, but they aren’t simple by any means.

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The Avengers [spoiler-free, duh]

‘The Avengers’. An absolute blast from start to finish! Whedon has pulled off the ultimate Summer blockbuster!

Superhero ensemble films are never easy to get right, and even the best of them to date, like X-Men: First Class, though thoroughly enjoyable, still fall flat in parts, with their throwaway, not-so-fleshed out characters. The sheer scope of The Avengers is insane. The Hulk, Iron Man, Captain America, Thor, Hawkeye, Black Widow, Nick Fury and Phil. Dear old Phil. What’s crazy is that this thing works SO well.

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Lost and Sound

‘Lost and Sound’. An incredibly touching insight into the adaptive power of the brain and impact technological advances can have in the lives of three individuals.

Don’t get me wrong, but deafness has always fascinated me. I’ll have these internal arguments every now and then on whether I’d give up sight or sound, if I had to give up one; I usually settle on sound. My crude view equated deafness to hearing nothing. I don’t know if it’s simply the three particular individuals in this film, or the advent of the Cochlear implant, but it is indeed not as clear cut as everything or nothing. There’s a phrase in the film about a mother realising the difference between simply “hearing” and “listening”, and this crystallised things.

Then there’s the brain. As described in the film, the ears simply provide a portal for the electrical impulses in your brain to interpret the rhythm, timbre, beat, etc of music, and turn it into that something that is deeply profound to all of us. The incredible, taken-for-granted effect music has in the life of every human being is exemplified further with the very music-oriented stars of the film.

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The Cabin in the Woods [spoiler-free, duh]

‘The Cabin in the Woods’. Genre-bending genius from Whedon and Goddard. 

What an incredible surprise. The horror genre, its conventions and archetypes are maintained and honoured, but there are so many more layers to this! This is a spoof, a homage, and then something completely different. The tone maintained is perfect, sliding easily from horror and suspense to self-referential comedy, while never selling short its characters and emotional stakes.

I really can’t talk about what happens, because it would completely ruin half the fun you’ll have with this, but believe me, you WILL have fun. A LOT of fun. I can’t remember the last time I’ve had as much fun in a movie. And, I don’t know how, but I’m pretty sure the audience at the packed Paramount Theater had way more fun than me, and added so much to the atmosphere; rapturous, deserved applause throughout. 
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Comparing social networks to movies on the basis of Attention? Flawed.

Sigh. I was rather enjoying my Monday until I read this infuriating piece by Alexia Tsotsis over on TechCrunch – I’d Rather Watch Instagram Than A Movie.

The basis of the comparison? Attention. The basis of the preference? Simplicity and relatability.

The appeal of Instagram is, for lack of a better word, simple; the world is moving too damn fast and we don’t want the cognitive load of figuring out what we’re looking at — we just want to see simple pretty things. This simplicity is what makes services like Instagram, Twitter and Pinterest a joy versus other entertainment offerings.

The truth is that on any given day, I’d rather check in on Instagram then watch a movie.

Call me a snob, but I feel sorry for the simple mind that can equate one form of attention to another so easily, and put it down to “killing time”. It is total underappreciation for film as an artform.

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TIL Netflix is not the place for new movies

This post from tnl.net, entitled Where the hits are streaming in 2011 was a real eye-opener, and one that I first heard on TWiT 336.

For each movie of the top 100 movies at the box office, I pulled data on for stream­ing info on Net­flix, Ama­zon on Demand, iTunes, and Vudu. I also pulled up avail­abil­ity of DVDs to use as a yard­stick in terms of over­all movie avail­abil­ity.

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2011: The year in movies

I’m trying something new this year. I’ve traditionally ranked my end of year list top to bottom, and it’s been incredibly difficult, not to mention a false, unfair measure. This year, I’m grouping them by star-rating.

I’ve been using Flixster for the past 1.5 years, but this year, I’ve made a conscious effort—for every movie I’ve seen this year that’s in Flixster’s database—to add a star rating, and write a review; be it a sentence or a rare, wordy exposition. Note that this will also contain random, older movies I’ve seen at home, etc throughout the year.

One thing I’m noticing now is how extremely difficult it has been for me to award something 5 stars. It’s silly in retrospect, but shows I don’t completely believe in my ratings, or am afraid to say, “hey, I think this is worth 5 stars and found basically nothing I didn’t love about it”. Considering the extremely subjective nature of it all, I don’t know why, so I’ll have to normalise some of that now.

On the flipside to that, you’ll also notice how rather positive I am with my ratings in general, because, heck, I love my movies, dammit! At least in the context of everything else on here, it can be taken as relative.

Oh, and just to clarify, these are movies I’ve seen at the cinemas in the year of 2011, in Australia and Austin, during SXSW. While looking back, I was surprised that some of these weren’t 2010 releases, but then remembered Australia’s backward nature in receiving them.

I’ve written a relatively large amount about movies in 2011 across Twitter, posts on this blog, Flixster, and the /r/movies subreddit, so this is simply going to be a list.

Here they are, grouped by star-rating out of 5, and alphabetically within the groupings.

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Mission: Impossible – Ghost Protocol [spoilers, duh]

Mission: Impossible – Ghost Protocol. An IMAX marvel of breathtaking, beautifully constructed action sequences and ingenious use of field tech!

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Tom Cruise is so meant for this role that it’s ridiculous. His physique, intensity and willingness to put his own body at risk are only magnified by the IMAX screen and Brad Bird’s wonderful direction. You’ve all seen the scene in the trailer with the craning shots atop the Burj Khalifa, but they don’t prepare you for half the beauty and thrill you’ll experience. 

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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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