(PG-13) Before canceling the apocalypse and becoming a twisted detective, Idris Elba brought to life one of The Wire‘s most memorable characters. ScreenPrism looks at the philosophy of Stringer Bell – the criminal who thought he was above his crimes.
Now You See It argues that awful movies entertain us beyond their obliviousness. He points out that the elements found in the Sharknados and The Rooms of the world – unrealistic acting, cheesy dialogue, outdated effects – are also used in good films.
Texas Chainsaw Massacre. Alien. The Silence of the Lambs. The Shining. Psycho. CineFix believes that those five are unassailable horror films. But they picked an alternative for each of those classics, so you’ll have something different to watch this Halloween.
(PG-13: Language, Gore) CineFix summon the Halloween spirit by listing some of the most popular horror movie tropes as well as some stellar examples. There’s the classic location, the person whom you just know is going to make it until the end, and… behind you!
ScreenPrism’s Stranger Things reference list continues with the slasher flicks, teen movies and music that anchor the side story between Nancy Wheeler, Jonathan Byers and Steve Harrington. It’s amazing that the show even makes sense with all these homages.
Most films that take place in the future portray it as either stark or dystopian. On the other hand, Spike Jonze’s Her painted a picture of a hopeful future that seems more relatable. Kaptain Kristian explores how Jonze and production designer K.K. Barrett pulled it off.
ScreenPrism treats Wes Anderson’s breakout film Rushmore as the director’s coming-of-age. The movie sees the debut of Anderson’s dollhouse aesthetic – albeit raw and less ornate – and penchant for indie music, while the story and theme are lifted from his life.
(PG-13) Stanley Kubrick’s A Clockwork Orange features a dark and disturbed main character, but somehow we still come to sympathize with Alex DeLarge. ScreenPrism brilliantly analyzes one of film’s greatest anti-heroes, whose charm and sophistication are oddly appealing.
Film editor Jacob T. Swinney compiled this intense reel of moments from Darren Aronofsky’s films in which the camera gets up close and personal with its subjects. The technique provides an immediacy and sense of involvement that’s about as visceral as it gets.
(PG-13, Flashing lights) Director Darren Aronofsky has an incredibly consistent filmography. It’s not only in terms of his movies’ quality, but also in the themes that he chooses to tackle and visualize: ambition, fantasies, and the gap between parents and children.
Video essayist Patrick H Willems explores an interesting notion in the world of film criticism – that the original Ghostbusters was missing something that virtually every other movie has ever has – a theme, subtext, message, or story arc for its main characters.
Seventeen years ago, Christopher and Jonathan Nolan bamboozled us with their breakout film, Memento. If the film’s alternating backward and forward stories still puzzle you, imagine the mental gymnastics that the Nolan brothers had to go through to bring it to life.