I just want to wish everyone a Merry Christmas! Hopefully everyone has the chance to be with their friends, families and loved ones this season. And while every household else is watching fucking Miracle on 34th Street, I like to continue the tradition of presenting Commando. A movie which undoubtedly puts me in the Christmas spirit. Enjoy!
City Of God
Although the 2014 World Cup may have depicted otherwise, Rio de Janeiro isn’t the most hospitable of places. Adapted from author Paulo Lins’ semi-autobiographical novel of the same name, City of God follows a young boy named Rocket as attempts to skirt the drugs, gang violence, and crime plaguing the Brazilian slums he calls home for three decades. It’s both breathtaking and terrifying, with excellent character development, camerawork, and authenticity.
I think it’s safe to say that we all know and love Jackie Chan. His work has entertained us for years. It’s difficult today to find someone that hasn’t watched films like Rush Hour, Shanghai Knights or Forbidden Kingdom but before Chan ever made it big in Hollywood, he was a star in Asia – and rightfully so.
Jackie Chan became a household name for doing things that very few other action stars did at the time; mixing action with comedy and doing all of his own stunts.
Here are ten fight scenes that helped carve his name into the record books as one of the greatest action heroes of all time.
10.Barn Fight – Dragon Lord
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:
“I’ve seen horrors… horrors that you’ve seen. But you have no right to call me a murderer. You have a right to kill me. You have a right to do that… but you have no right to judge me. It’s impossible for words to describe what is necessary to those who do not know what horror means. Horror. Horror has a face… and you must make a friend of horror. Horror and moral terror are your friends. If they are not then they are enemies to be feared. They are truly enemies. I remember when I was with Special Forces. Seems a thousand centuries ago. We went into a camp to inoculate the children. We left the camp after we had inoculated the children for Polio, and this old man came running after us and he was crying. He couldn’t see. We went back there and they had come and hacked off every inoculated arm. There they were in a pile. A pile of little arms. And I remember… I… I… I cried. I wept like some grandmother. I wanted to tear my teeth out. I didn’t know what I wanted to do. And I want to remember it. I never want to forget it. I never want to forget. And then I realized… like I was shot… like I was shot with a diamond… a diamond bullet right through my forehead. And I thought: My God… the genius of that. The genius. The will to do that. Perfect, genuine, complete, crystalline, pure. And then I realized they were stronger than we. Because they could stand that these were not monsters. These were men… trained cadres. These men who fought with their hearts, who had families, who had children, who were filled with love… but they had the strength… the strength… to do that. If I had ten divisions of those men our troubles here would be over very quickly. You have to have men who are moral… and at the same time who are able to utilize their primordial instincts to kill without feeling… without passion… without judgment… without judgment. Because it’s judgment that defeats us.”