“Kane is a subjective story projected through an objective eye, told with unforgettably nuanced imagery and inspiredly elliptical montage, as opposed to the high-gloss spectacle and chattery exposition that were old-guard standbys in 1941 Hollywood. In one of Kane’s most famously persuasive sequences, Welles utilizes repetitively-scaled shots, revealingly-positioned angles, subtle camera movements, and an oblique editing pattern to signal the impending undoing of his tyrannical antihero within a moment of presumed but short-lived victory. It all pivots around a spatial and structural behemoth of a scene, in which Welles allows the combined forces of each carefully-made technical decision to tell a deeper story about the pitfalls that the illusion of power and celebrity prevents us from seeing — and escaping.”
Matthew Eng unravels one of the most intricate and indelible sequences in filmic history as Citizen Kane turns 75. Read in full.
Since it’s a great movie to watch this time of year … with a Fall/Halloween timeframe … I thought I’d write a short review of this Bat-flim.
I know Joel Schumacher gets a lot of flak about killing the Batman movie franchise in the mid 90s with his Batman & Robin film, but he did a lot right in Batman Forever.
Yes, there were the bat-nipples (and robin-nipples too), but the costumes were amazing! In my mind at least, Robin’s costume has never looked so good. Jim Carrey was the perfect pick for the Riddler and he made the most of subpar script. Val did a great job of taking over for Keaton, bringing to the table a more physical presence as the Dark Knight. Additionally, I really enjoyed Chris O’Donnell as Dick Grayson/Robin and Nicole Kidman made a great love interest for Bruce Wayne. Also, bringing back Michael Gough and Pat Hingle to reprise their roles was a nice touch to link this film with the previous two Batman movies.
However there were some miscasting too. Tommy Lee Jones is a fine actor, but his portrayal of Two-Face was flat out awful! His character seemed like a bad rip off of Jack Nicholson’s Joker. Did anyone associated with this film research the history of Harvey Dent/Two-face? Batman Forever should have stuck to one major villain, The Riddler.
Other random things to note that I liked:
🔴 Elliot Goldenthal’s score
🔴 the comic book look (lots of eye candy) … from the color, to the architecture of Gotham City
🔴 both the movie posters and marketing for this movie were outstanding
🔴 using the iconic image of Batman & Robin running in front of the Bat-signal (photo above) as the last shot of the film was classic!
The ‘GoodFellas’ are coming to #TFF2015! You could win tickets to see a remastered version of the film and a conversation with the cast and Jon Stewart. Head over to our Twitter (@tribecafilmfest) to see how you can enter. #tbt
Rather than being a Top 10 list of films released in 2014, this list shares 10 films from the past year that challenged our expectations of film and brought excitement to the screen.
Nuri Bilge Ceylan has without a doubt evolved into one of the most important film auteur’s of our times. His films push the boundaries of cinematic storytelling, and Winter Sleep certainly pushes them further while still striking the audience as a classic. Paweł Pawlikowski’s Ida also plays like a classic film with its beautiful static shots and story presented with images and sounds that adhere to Robert Bresson’s idea of only presenting the necessary. Jonathan Glazer’s Under the Skin proves that cinema’s language still offers new worlds to explore, new modes of expression to discover. At the same time, Ava DuVernay’s Selma points out that great films and great directors are great because of what they represent and how they exist free of the need for validation. Like 12 Years a Slave by Steve McQueen, Selma is another important point in film history, one that hopefully invites filmmakers to reflect on cinema as an art and way to convey powerful emotions and ideas.
Another film that pushes the boundaries of cinematic storytelling is Richard Linklater’s Boyhood. There is a reason why it is adored by larger audiences: it touches on the soul of what it means and feels to be human. Also, one can not avoid the outstanding feat of producing a film over the course of 12 years in order to capture true life. Touching upon human emotion and life in its own way, Alejandro González Iñárritu’s Birdman was spectacular with its cast and ability to tell a film story in what appears to the spectator an unbroken long take. Ambition here too deserves to be honored. Bong Joon-ho’s Snowpiercer shows how art can transcend cultural barriers and that there are driven tellers of human stories all over the world. It also sheds light on the importance of a director possessing a filmmaker’s style. Iain Forsyth and Jane Pollard’s 20,000 Days on Earth confirms the power of the documentary under stylistic and poetic direction. Meanwhile Damien Chazelle’s Whiplash, a sophomore film, reveals that brilliant emerging filmmakers are out there: they just need the chance to shine. Finally, in a list with Winter Sleep and Ida there is Chad Stahelski and David Leitch’s John Wick. A film that must’ve been what many expected from Nicolas Winding Refn’s Drive, it has to be one of the best action films of recent times, one that also looks, cuts, and sounds amazing. You can’t complain too that it delivers what it promises and never tries to prove itself to be something other than what it is: a stylish action thriller.
Mr. Turner, Foxcatcher, Nightcrawler, Finding Vivian Maier, and Wild.