Breaking Bad’s Gustavo Fring was one of the greatest bad guys ever. His cold, impersonal, and professional demeanor made his character even more menacing. ScreenPrism delves deep into Fring’s psyche to see what made this methodical madman tick.
The area along Wacker Drive near State Street is one of Chicago’s most architecturally significant and iconic locales. Perhaps that’s why Hollywood loves to destroy it over and over again. The A.V. Club looks at some of the many movies which made a mess of the place.
(PG-13: Language) Netflix’s Mindhunter has a repetitive flow and is heavy on dialogue. But it keeps viewers watching by recreating Clarice Starling and Hannibal Lecter’s conversations in Silence of the Lambs – conveying information through framing and body language.
The creators of Black Mirror were partly inspired by The Twilight Zone. In fact, as Lessons from the Screenplay points out, USS Callister is an updated version of a particular The Twilight Zone episode. He also points out the masterful efficiency of USS Callister‘s script.
(Spoilers) Science fiction often relies on the idea that robotic uprisings come from androids gaining human-like emotions. Trekspertise provides their thoughts on why Westworld’s approach is more compelling and believable in this excellent video essay.
(PG-13) From overblown colors, to double vision, to reverberating sounds, filmmakers have tried for years to provide a cinematic representation of being stoned out of your mind. Fandor explores some of the many ways films try to replicate the state of being high.
Lessons from the Screenplay looks back at one of 2017’s best films, a psychological horror that blends in biting social commentary, and scared the living pants off of people while still being intelligent and original. Man, that “no, no, no” scene with Georgina still gives us chills.
Despite the breadth of his work, there are still trademark stylistic touches that appear in many of Steven Spielberg’s films, not the least of which is his use of background lighting. Jorge Luengo Ruiz put together this short reel of some of these visually powerful moments.
Looking for movies that will have you itching to know what happens next? Look no further than thrillers. CineFix presents its top 10 picks from the genre, from ones that dole out fear or absurd comedy to the ones about desire, conspiracy or simply the need to survive.
After defining a movie act and looking at the oft-used three-act structure, Lessons from the Screenplay looks at a film that breaks those conventions. The Girl with the Dragon Tattoo has an odd structure, but each act has a self-contained story that keeps the film engaging.
Spurred by David Fincher’s comment that Marvel’s three-act structure is constricting and formulaic, Lessons from the Screenplay sets out to define what exactly an act is, using The Avengers as an example before even beginning to issue a verdict on how Marvel uses acts.
“Not to pursue reality, but to replicate an impression of emotions.” Channel Criswell pays homage to former Studio Ghibli animator and director Hiromasa “Maro” Yonebayashi. Maro-sama’s work uses the surroundings and objects to reflect a character’s inner state.
(PG-13) “I am awake.” 10 years ago, Breaking Bad introduced us to Walter White and Heisenberg. It’s easy to say that the former changed into the latter, but ScreenPrism argues that Heisenberg was always there. Walt simply let him out, then refused to rein him in.
The use of sound in film is often times just as important – if not more so – than the visuals you see. Film essayist Nerdwriter1 explores how director Steven Spielberg and Sound Editor Ben Burtt effectively use audio to build tension, tell stories, and set a mood in the theater.
The Royal Ocean Film Society spends some time looking at the works of Richard Williams, one of the last of his breed of hand animators – a man known for his fluid and dynamic style, and ability to create worlds with a tremendous sense of depth and perspective.