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) 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.
Say what you will about it, but The Room’s enigmatic creator Tommy Wiseau had the brass balls to wear the hats of writer, director, producer, and actor on the film. Film essayist Kyle Kallgren provides his take on Wiseau’s narcissism and control over the film.
The Mother Box. The Ark of the Covenant. R2-D2. These are examples of a MacGuffin – something that the characters in a movie worry about but for which the audience doesn’t care, at least not at first. Just Write outlines five ways that it can be used to good effect.
(PG-13: Language) The Royal Ocean Film Society credits the success of Before Sunrise, Before Sunset and Before Midnight to director Richard Linklater’s willingness to have a conversation with stars Ethan Hawke and Julie Delpy on how best to flesh out the characters.
“Luminous beings are we, not this crude matter.” After explaining the meanings of the lightsaber, ScreenPrism continues its Star Wars symbolism series by enumerating the core tenets of the Force. Or at least its Light side. Empty your mind and be one with the Force.
New York Magazine looks at how trailers have changed over the years, starting out with basic explanations of the film’s plot, to booming voiceovers, to the over-the-top montages of today, along with some of the tricks today’s trailer makers use to minimize spoilers.