Not since Jean-Luc Godard’s Alphaville (1965), a French classic science fiction noir, has a film like Ridley Scott’s Blade Runner (1982), an American neo-noir, evoked such an unconventional, dark, and gritty sci-fi tale involving a cynical police detective on the trail of murdering androids called “replicants” that look identical to humans. The film takes place in a futuristic, overcrowded, rain-soaked metropolis of Los Angele in the year 2019. “The infrastructure looks a lot like now, except older and more crowded, and with the addition of vast floating zeppelins, individual flying cars, and towering buildings of unimaginable size. When I first saw the film I was impressed by the giant billboards with moving, speaking faces on them, touting
The movie Drive follows a nameless Hollywood stuntman and mechanic by day and a getaway driver by night (everyone refers to him as Driver). Driver begins to fall for his neighbor – whose husband is in prison and is looking after her child alone. When the husband returns from prison and is beaten up by gangsters that he owes money to and is forced to do a robbery job with the lives of the wife and son on the line, Driver decides to help the husband get the money in hopes that the family will no longer be in harms way. What follows will be more than the driver bargained for as criminals begin to hunt down both Driver and the family. Driver’s character fits the anti-hero role perfectly.
From the start, Jacques Tourneur’s Out of the Past certainly makes an impact. It opens with a swirl of mountain scenery, everything seemingly idyllic and peaceful, but undercut with a bombastic, slightly urgent soundtrack. Something’s amiss. We’re then placed in the back of a car, watching Paul Valentine (Joe) drive up to the gas station. He instantly looks out of place — a gangster, dressed head-to-toe in black, in a small Californian town.
His new film, an American crime adventure entitled “Baby Driver”, seemed to be the right spin his career needed. Yet, the enthusiasts of his previous movies won’t find that outstanding, sparkling humor but rather considerable amounts of tense activity packed with adrenaline.
Cinematography is critical to the success of any movie. Cinematography uses composition, lighting, depth of field, and camera angles to determine what the audience sees. Casablanca’s cinematography directs the audience’s attention, shapes the audiences feelings, and reveals the theme of the movie. Cinematography directs the audience’s attention and acts as the viewer’s eyes. The cinematography highlights Casablanca as a dangerous place filled with deception.
The first bit to the film is, as promised, an invigorating, guided voyage through the development of a recently perceived sensation: Street Art. The protagonist Thierry Guetta, an unpredictable and glib Frenchman who lives in California gets to be occupied with Street Art and fanatically movies his experiences with street artists as he immerses himself in their reality. His recordings
While “Infernal Affairs won all major film awards in Hong Kong in the year of it’s release and is recognised as the film that brought Hong Kong commercial cinema back to it’s feet after almost a decade of declination”, The Departed earned auteur director Martin Scorsese his first Oscar award for Best Director in 2007 and remains to be Scorsese’s highest grossing film domestically. Both Infernal Affairs and The Departed’s critical acclaim and commercial success are unprecedented; although remakes of Japanese horror films became trendy in the first decade of the twenty first century in Hollywood, they received “lukewarm critical and scholarly attention despite their general commercial success. Therefore, Infernal Affairs and The Departed’s rare combination of critical recognition and commercial popularity serves as a significant case study that
If we just start from the first scene we can see how the director establishes the mood of the noir movie with an erotic bias. Let’s get closer into the details of the
One of the lengthiest and most obscure debates among cinema fans regards the topic of what is cult, what art-house and what mainstream. Usually, discussions like that do not reach a definite conclusion, however, there are some themes, notions and events that define what is cult, which is the point of interest of this particular list. The filmmakers that shot the films in this list challenged the notions of everything considered normal and even acceptable by society, in terms of politics, culture, history, society, violence and sex. This tactic originated from their non-existent regard for commercial success and resulted in broken taboos, offensive and even blasphemous images, characters, dialogues and themes, and even to a number of hilarious
Abstract: Iranian films have a unique space in the realm of cinema. They are exceptional, simple, innovative and inspirational. Abbas Kiarostami is a prominent figure of Iranian cinema whose films received international acclaim. His extremely minimalist directorial mode, experimental style and unconventional narrative patterns make his films oppositional to the traditional feature films. He is one of the pioneers of Iranian New Wave cinema.
Baz Luhrmann’s films are known their ability to make a watcher feel as if they are part of the show. Between his use of camera angles, shots and the use of a narrator, it’s no wonder he is able to keep viewers on the edge of their seat. But how does Baz Luhrmann pull off this spectacular feat of his? This is probably explained best by referring to Baz Luhrmann’s films and how he himself has evolved as a director.
Baz Luhrmann is widely acknowledged for his Red Curtain Trilogy which are films aimed at heightening an artificial nature and for engaging the audience. Through an examination of the films Romeo + Juliet, Moulin Rouge and The Great Gatsby, the evolution and adaptation of his techniques become evident. Luhrmann’s belief in a ‘theatrical cinema’ can be observed to varying degrees through the three films and his choice to employ cinematic techniques such as self-reflexivity, pastiche and hyperbolic hyperbole. The cinematic technique of self-reflexivity allows a film to draw attention to itself as ‘not about naturalism’ and asks the audience to suspend their disbelief and believe in the fictional construct of the film.
Throughout the years, the auteur theory slowly ensconced itself as an essential key to film analysis, providing a specific guideline to evaluate a director’s film. One of the most
Movie Analysis: Something the Lord Made Something the lord made is a movie depicts the tumultuous relationship of two leading pioneers in the field of surgery. The white surgeon Alfred Blalock and the black cardiac pioneer Vivian Thomas. Their partnership lasted for over thirty years and during that time important breakthroughs were made both in the field of medicine and in that of social equality in America. The reason why I chose to write an essay about this movie is due to the important events that transpire in it.
