(PG-13, SPOILERS) “We are what we think or what we do.” At the end of Rick & Morty‘s third season, we are faced with an existential question. Who is the Beth Smith we see at the end? And does the answer to that question matter? ScreenPrism expounds.
Awesome Film Essays
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.
Video cameras move in six basic ways: pan, tilt, roll, push (or pull), track and crane. They can be combined, performed at different speeds, and cut into each other. But each one is rich enough on its own. CineFix presents its picks for the best use of each basic movement.
“But oh, to be free… to be my own master.” ScreenPrism argues that Aladdin has a nice message about freedom. The heroes each have different kinds of freedom. In the end, they learn that to maximize their own freedom, they should help others be more free as well.
Spike Jonze’s Her is one of those films with so many layers and details that it warrants numerous viewings. Film essayist Michael Thomas explores one such aspect – the way in which music directly reflects Theodore’s state of mind and emotions in the film.
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.