Did it ever happen in your life that you’ve seen such a beautiful movie, such a perfect piece of art, such an unbelievable example of man-made splendor, such a gorgeous masterpiece that it hurt your eyes? Well, I did. And it wasn’t the Schindler’s List or the Lord of the Rings. No, it was the BEST action movie ever made. The BEST interpretation of the Governator. The BEST explosions. The BEST one-liners. The BEST plot. And the BEST tag-line. This movie is like the Art of Japanese gardening. Simple and beautiful. Balanced. Proportioned. There’s just the right amount of everything. And there is just about everything that should go into an action movie: car chases, explosions, drug-lords, sex, an invincible hero, sitting-duck-like enemies, humor, knife duels, fist fights, rocket launchers, blood, death, bullets, glass, pectorals, muscles, some more muscles, explosions and more explosions. You need more? It’s got Arnold. Need more? It’s got Arnold with a sense of humor. Still more? It’s got Arnold with a sense of humor and a rocket launcher. Put these three elements together and try to guess what happens. Destruction. On a mass scale. I won’t give away the plot, because it is too intricate and surprising. Basically it is Arnie on a mission to save his daughter. That’s about it. But what is important is not the fact that Arnie will save his daughter, but HOW will he save his daughter. Oh, are you saying that The Matrix is the best action movie of all time? Does The Matrix have Arnold Schwarzenegger? NO. Does Commando have the Matrix? YES. JOHN MATRIX, in fact. Oh, so you are saying that Neo dodges bullets? John Matrix doesn’t need to. He is bulletproof. He eats bullets for breakfast. Need more proof? I thought so… I gave this Caravaggio painted on celluloid a 10 only because IMDb doesn’t go to 11. This movie is so eye-blindingly beautiful I can’t find the words to properly end my commentary and render justice to this cinematic masterpiece. So I will just use the movie’s tag-line: Somewhere… somehow… someone’s going to pay!
Spaceballs III by Nikkolas Smith
Los Angeles’ pop culture print gallery iam8bit is opening a new show on Thursday, November 13, titled “Sequel” in which over 40 artists imagine posters for sequels that were never made.
Some of the films given the wishful follow-up treatment include The Rocketeer, Spaceballs, Blade Runner, Labyrinth and more.
Fight Club 2 by Kaz Oomori
Imagine a film , shot in one day, by 80,000 people. It sounds unbelievable but that is exactly what “Life In A Day” is. This fascinating film is made from footage of YouTube clips from people asked to film there everyday activities and do you know what ? It really works.
How the director managed to edit down 4,500 hours of footage is beyond me but the final cut is excellent none the less.
It is hard to really review the film because of what it is about: life. The film captures life for anything on Earth, whether it be a human or an animal. Cultures, religions, ways of life and philosophies are all touched upon in this amazing piece of history. Never before has the entire world been seen in a film such as it has in this picture.
People from all over the world are captured living as they do normally. There is no Hollywood, there are no actors, no directors and no writers. This film is about people.
It is obviously very difficult to explain what life is and I am not going to do it. But this film does it and it does it in a way anybody could understand.
Life in a Day is awe-inspiring in the way it captures life on Earth without being sentimental. At the end of the film, there won’t be a soul in the world that isn’t touched.
The No. 1 rule of ’80s children’s movies: Scar kids for life. While those movies probably didn’t intend to leave its young audiences with lifelong trauma, the scars are still healing for a lot of us. Here are 10 children’s movies that are actually scarier than any horror flicks you might be watching this Halloween.
Return to Oz – Head Scene
Honestly, horror movies that try very hard don’t even come close to this terrifying shit I mean damn.
The Director of a film (or a play, or a television show episode) is the person responsible for the creative vision of the piece. They create a concept from the script (which may or may not be something concretely found in the script, it may be metaphorical or tangential) and from the concept lead the design and production team towards a collaborative vision. Once rehearsals/filming have begin, the director blocks the piece (i.e. tells actors where to move), provides objective and subtextual support to the actors (i.e. tells them why they are saying the things the writer wrote) and ensures that the visual style and setting are within the original vision or concept parameters.
In film, they also work closely with the DP, first story-boarding the script, and then, once on set, making sure that each shoot is framed, blocked and shot per their vision. Including ALL design aspects, from the color of the walls to the type of purse a character might wear.
In essence they are the Captain of the ship. A lot of my notes below can also be laid at the feet of bad writing, but in film (less so TV and theatre) directors have a great deal of oversight on the writing, so they are typically held accountable if the writing is terrible.
A film which has been directed badly will usually (but not always, the problem with a collaborative art form, which is what film is, is that there are many, many chefs in the kitchen. However, since the director tends to get the credit when everything works, they also tend to get the blame when it doesn’t)–usually show the following flaws: