Film Essays

(SPOILERS, Gore) ScreenPrism explores how Donald Glover’s Atlanta is driven more by themes of helplessness and the absurdity of reality, rather than a forward-moving plot, escalating stakes or likable characters, even though it has those as well.

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.

In fiction, villains are often needed for the hero to have a point. But Lessons from the Screenplay uses Michael Mann’s action film Collateral to show that the good guys – and the audience – can also learn a thing or two from the bad guys.

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.

If you can believe it, it’s been 30 years since Beetlejuice first came out. ScreenPrism looks back at one of Tim Burton’s most memorable films, and how it defied genres like horror, comedy, and teen films to go its own way, leaving a long-lasting impact.

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.

(SPOILERS, Gore) “He would see this country burn if he could be king of the ashes.” ScreenPrism compares the ambitions and methods of Game of Thrones‘ two spymasters. One is unabashedly self-serving, while the other is – seemingly – for the people.

CineFix continues its list of its best movie shots of all time with an episode that focuses on the cinematic potential afforded by the camera lens. They pick one shot each for the telephoto, the wide angle, the zoom and the focus.

(PG-13: Language) Wisecrack’s alien film critic Garyx Wormuloid takes on Peter Weir’s sci-fi classic, The Truman Show. Despite the overabundance of jokes in the video, it still does a good job of explaining the movie’s theme.

(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.

(PG-13, Gore) ScreenPrism breaks down the trademarks of a Stanley Kubrick film, from scenes and shots that were symmetrical and clean, yet cold and unnerving, to their pessimistic view of technology and humanity.

(PG-13) Wisecrack looks at how Monty Python influenced some of today’s most popular comedy shows and films by breaking down the three main elements of the group’s style: relentless postmodernism, absurdity and political satire.

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.

(PG-13: Language) Film Radar explores Michel Gondry’s Eternal Sunshine of the Spotless Mind and how footage that was left on the cutting room floor could have dramatically changed the way the story played out and how characters are perceived.

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.

(SPOILERS) Jack’s Movie Reviews made this great summary of the underappreciated Blade Runner 2049. He looks at how Joe, Luv, Deckard and the other main characters serve as answers to the movie’s central question: what it means to be human.

(PG-13, Gore) CineFix picks its top five most innovative and unique films of all time. Whether its technological pioneers, or ones with left field stories, arresting presentations, uniquely cinematic or utterly experimental.