Lots of “Should Have Been Nominated” notes this year.
Should Have Been Nominated: If Beale Street Could Talk
Should Have Been Nominated: Spider-Man: Into the Spider-Verse
Should Have Been Nominated: Private Life
Should Have Been Nominated: First Man
These are Big B’s top ten films of 2017.
10) I Am Evidence – directed by Geeta Gandbhir and Trish Adlesic
I Am Evidence is a clear, poignant exploration of an issue that needs more attention: the epidemic of untested rape kits in American cities. Most importantly, I Am Evidence focuses on specific steps that cities can take to resolve this problem. This documentary tries hard to make itself unnecessary by aggressively targeting sensible solutions to the problems highlighted during the documentary’s opening moments. I Am Evidence is concerned with progress, not proceeds—but I hope it gets both.
Honorable Mention: La La Land
Below is your guide to the science fiction, fantasy, and superhero films of 2017—complete with trailers, release dates, pros and cons, and an Excitement Rating that quantifies Big B’s interest in each film.
The Lego Batman Movie – February 10th – Warner Animation Group & DC Entertainment
Pro: the possibility that Will Arnett will be the best Batman yet; the realization that this movie is essentially an animated amalgam of all the Batman memes that exist on the Internet Continue reading
Earlier, I posted my ten favorite movies from 2016. But a “best of” list provides only a snapshot of a yearlong collection of movie-going experiences. If movies can impact a moviegoer’s worldview (by stimulating creativity, encouraging empathy, and raising awareness), then moviegoers should thoughtfully consider which movies they choose to watch. With this in mind, I have posted a list below of every movie I watched for the first time in 2016. Continue reading
Below are Big B’s top films of 2016.
1) Hunt for the Wilderpeople
It’s a heartwarming adventure-comedy about two outcasts from different worlds, and I love it. Clever, concise, and nuanced. Watch this movie. Continue reading
THIS ARTICLE CONTAINS SPOILERS.
Many reviews of Batman v Superman: Dawn of Justice seem to forget one fact: Zack Snyder has a distinct directorial style. As I’ve noted before, anyone who buys a ticket for any film by the director of 300 and Sucker Punch—which includes Batman v Superman—and is offended by the lack of subtlety and Loki-style humor has not considered Snyder’s reputation as a director.
A director’s signature style matters. I would not see a Tarantino movie if I wanted a kid-friendly romantic comedy; I would not expect a film by Sam Mendes to highlight the positive qualities of suburbia; and I would not look for Spaceballs-style comedy in an Iñárritu film. Zack Snyder was never going to allow Batman v Superman to look or feel like Joss Whedon’s lighthearted and arguably formulaic Avengers films.
Below are ten reasons why Batman v Superman: Dawn of Justice is an entertaining and impressive movie.
1. The Opening Scenes
Critics enjoy mocking the excessiveness of Superman’s Metropolis-based battle against Zod in Man of Steel. Shortly after the movie premiered, the hazard-assessment team at Watson Technical Consulting quantified the damage. According to the team, “in terms of the strictly physical damage done to the city, the initial estimate is $700 billion.” And the death count is equally striking: “129,000 known killed, over 250,000 missing (most of whom would have also died), and nearly a million injured.” Many moviegoers look at these numbers with disgust.
So does Batman. Continue reading
Netflix assumes that I want to skip opening credit sequences, which isn’t true. Yes, Netflix, I have been binge-watching Marvel’s Daredevil for the past six hours, but I still want to see the melting maroon wax (or blood?) statue of Lady Justice turn slowly as the eerie cadence of high notes fights with the low, booming bass sounds that slowly intensify beneath them. It gets me in the mood.
A title sequence is an emotional trigger, and I appreciate the opportunity to mentally prepare myself for the narrative that follows. This article contains an analysis of some of the more musically intriguing and visually engaging opening sequences. Obviously, some opening credit sequences, like those of The Simpsons and The Fresh Prince of Bel-Air, are well-established classics, so I will not discuss those below. Other title sequences feature brilliant theme music but do not offer much in terms of visuals, like those of Firefly and Battlestar Galactica. Even the simple melodies of shows like Scrubs and Gilmore Girls work well as triggers of nostalgia and empathy, but they will not appear below.
Other classic intro sequences that will not be discussed here: the concise opening of The Twilight Zone, the friendly notes of Cheers, the mission statement of Star Trek, the Big History explanations of The Big Bang Theory, and the catchy expositional songs of The Brady Bunch and Gilligan’s Island.
Dexter Continue reading
Posted in Musings
- Tagged big b, daredevil, dexter, game of thrones, house of cards, mo money, opening credits, opening sequence, orange is the new black, the borgias, the walking dead, the west wing, title sequence, unbreakable kimmy schmidt
I loved Cloverfield. As an avid monster movie fan and gamer—I liken the feel of Cloverfield to a mix of Call of Duty and Resident Evil—this is not the type of sequel I anticipated. When the marketing for 10 Cloverfield Lane came out, I was baffled that what looked like a psychological thriller bore the Cloverfield title and was the supposed next entry in a giant alien monster movie franchise. All these things left my expectations low but hopeful.
The beginning starts cautiously, establishing the mood with a strong and foreboding score at the forefront. You are given details and character hints without any dialogue. Then, once you’ve been established in the world and you settle in for what you expect to be a slow build to the first tension of a slow psychological thriller, everything explodes on screen in full audio and visual. I think this opening epitomizes the shock that I felt throughout the entire film. This movie is an odd but pleasant surprise throughout, and definitely nothing I was expecting.
The thing that stands out first is the score and the sound mixing. The mechanical noise of the door opening and shutting, the clatter of objects, the jostling of a car shaking and rolling; all the sound in the film feels like it’s turned up to 11 and it presents a visceral world that keeps you braced for something terrible yet to come. At some points I thought the sound and the score might’ve tried a little too hard to push the drama of a scene, but they played a big part in shaping it as well. Ultimately, as the film rises to its peaks the sound really stands out in delivering the drama of each scene. Continue reading