Interested in Street Art? How about art in general? Maybe politics is more your thing? Or perhaps you’re just curious about Brazil? If you answered yes to any of these questions, then Grey City (Cidade Cinza) is a documentary you should go out of your way to see. Weaving together an entertaining storyline, through the voices of famed artists (Os Gêmeos, Nina, and Nunca, just to name a few), the film uses street art as a platform to portray a variety of interesting topics: art philosophy, political corruptness, and how a behemoth city can be full of peculiar charm.
Continue reading this post…
The creative minds behind Cinefix have taken Kubrick’s classic The Shining and turned it into a rather faithful 8-bit video game. What really sells the game for me is the music, which is both true to old Nintendo games and the vibe of the film. I’d totally play this.
I have a theory when it comes to Wes Anderson and his films. The theory is that he makes two really good movies, and then one kinda bad one. This doesn’t include Bottle Rocket into the mix, but here’s my evidence:
Rushmore – Awesome
The Royal Tenenbaums – Awesome
The Life Aquatic – Turd
The Darjeeling Limited – Really good
The Fantastic Mr. Fox – Awesome
Moonrise Kingdom – Turd
Based on my scientific data, it seems as though The Grand Budapest Hotel is going to be a winner. That, and the fact that I laughed at almost every part of the new trailer, which you can watch below. I think I’m most excited for old lady Tilda Swinton.
“Because we are human, because we are bound by gravity and the limitations of our bodies, because we live in a world where the news is often bad and the prospects disturbing, there is a need for another world somewhere, a world where Fred Astaire and Ginger Rogers live.”
– Roger Ebert
Alfonso Cuarón’s newest film Gravity is a masterpiece. Roger Ebert’s quote above sums up what’s so special about the film, that it’s truly experiential, a piece of cinema that’s meant to be felt. It seems as though the lack of gravity freed Cuarón’s camera from convention. Long, sprawling scenes are paired with impossible shots to create something unlike anything ever before. The film is seen not only from the vantage of a safe, third party viewer, but also from a first person point of view where you feel the tension and the terror of the characters.
This tension ripples throughout the entire film. At one point you can equate space matter to the sense of dread that rises over you in the beginning of Jaws, as the shark slowly begins to tug at the legs of the unsuspecting skinny dipper. The use of sound, or lack thereof, further heightens this tension as you only hear the breathing of the characters or the gasps of your fellow audience members.
Stanley Kubrick may have said it best:
“If it can be written, or thought, it can be filmed.”
Hayao Miyazaki—writer, director, visionary, and all-around creative maestro. I love this man; having not directed a film since 2008′s Ponyo, his absence has been felt. 2013 marks the return (and sadly farewell) of Miyazaki, presenting his most recent piece of cinema, The Wind Rises. Having been out in Japan since July, it’s now making the festival rounds this part of the world (slated for western release February 2014). I had the pleasure of watching The Wind Rises at the 51st New York Film Festival last week. It was beautiful, it was captivating, and it left me walking away thinking, which is exactly what a good film should achieve.
Continue reading this post…