(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.
Now You See It suggests how you can tell if a plot twist is good: watch or read the story again and see if you still enjoy it. Because unlike reality, fiction has to make sense. Instead of being a complete tangent, the twist has to fit in with the rest of the tale.
Film essayist Nerdwriter1 looks at Paul Thomas Anderson’s masterwork There Will Be Blood as an example of how its relatively modest use of edits and subtle framing adjustments have much greater emotional impact than the crazy rapid cuts we’re used to these days.
(SPOILERS) Master of None‘s second season makes no secret of its Italian neorealist influence. But ScreenPrism gives a great breakdown of the show’s ambitious yet successful mission: adopting the dour style for the middle class while remaining sincere.