New York City based photographer Matthew Cetta doesn’t retouch, or give his work the Photoshop treatment, instead he takes household liquids, such as vinegar, ammonia, cough syrup, and lemon juice, and uses them to process his images, with often vivid results.
“Deafening noises, bursts of music, faces materializing from nowhere can make the heart skip, send popcorn flying from tubs and reduce one to watching a screen through woven fingers, but after going home and surviving the night, all the just-a-cat moments and demon faces and gore slip from the mind,” said Jake Cole at Film.com. While admitting that “some jump scares are so ingeniously executed they take on a life of their own,” the fact remains: “Jump scares don’t cause nightmares.”
2001: A Space Odyssey is a film that somehow shouldn’t work at all, yet succeeds at every level. Well, I think so at least. In this longer write-up, James Maynard Gelinas takes a closer look at the many aspects of Stanley Kubrick’s 1968 work that bring the story, such that it may be, together.
For unlike typical character and plot driven narrative, its structure is that of an odyssey portraying the span of millennia. There is no central protagonist in conflict with an antagonist to root for. The few depicted characters seem disconnected from one another, and their dialog is often irrelevant to expository action. Its pacing is slug slow, with excessive montage shots that while visually beautiful don’t move plot points forward. If classical music seems an odd score choice itself, several pieces selected are often disturbingly postmodern, evoking not a soothing softness of the musical genre but chaotic and disquieting emotions. Finally, the final sequence, rather than a climax and resolution to some character driven conflict, seemingly comes from nowhere leaving more questions than answers. In almost every way this film should have failed. But it didn’t. Instead, it’s considered a great masterpiece. Why?
San Diego based photographer Michael Shainblum collected time lapse video footage from a number of US cities and then began mirroring the clips back onto each other to produce Mirror City. Psychedelic, or what?
More for filmmakers, and those studying film production, but movie fans might yet enjoy this primer about aspect ratios, being the ratio of a screen’s height compared to its width, and how it has changed as filmmaking has evolved.
Man of Steel, the latest of the Superman films, previews in Sydney tonight, and provided my other activities don’t distract me too much, I’ll post a review in the next day or two.
While most of us would like to think we’d always be in Superman’s good books, and in need of his help, have you thought what might happen if you were squaring off against the citizen from the distant planet of Krypton, and found yourself taking a couple of his punches?
A couple would be a stretch however… it seems like but one would be enough to well and truly dispatch you, considering you’d be hit with a force that was similar to that of a nuclear bomb.
Footage of London filmed in the late 1920s by British cinematographer Claude Friese-Greene. There’s even a snippet of the fifth and final Ashes cricket test, played between England and Australia, at the Oval, in 1926.
Richard Linklater, director of “Dazed and Confused”, “A Scanner Darkly”, and “Bernie”, collaborates once more with Julie Delpy and Ethan Hawke to make Before Midnight, the third installment in the Before Sunrise and Before Sunset series of films.
No word of an Australian release as yet (13 June is suggested here), but in the meantime check out the trailer (hmm, yes, possible spoilers). I can’t say what piqued my interest in these films since first seeing them on DVD eight or nine years ago. Eurorail maybe? Peneda-Gerês?