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.
What if, on any random day, you were suddenly strike by a giant meteor… that no one saw? And let’s say the meteor spatially moved your physical form 91cm away from where it should be? Would anyone believe you? Or would everyone think you’re crazy?
That’s the idea behind this short film by Jeremy Clapin called Skhizein. It’s kind of an odd story, but that’s also why it’s so charming. Plus the animation is extremely well done, especially the details of the main character charting out his perceived world in his apartment. Just watch it, you’ll understand.
You’ve gotta love Spike Jonze. He’s back with a new film called Her, about a lonely man named Theodore Twombly who finds companionship in a futuristic, Siri-like operating system. I love everything about this trailer – the cast, the music, the cinematography – I think it’s going to be a gem.
Set in Los Angeles, slightly in the future, “her” follows Theodore Twombly, a complex, soulful man who makes his living writing touching, personal letters for other people. Heartbroken after the end of a long relationship, he becomes intrigued with a new, advanced operating system, which promises to be an intuitive entity in its own right, individual to each user. Upon initiating it, he is delighted to meet “Samantha,” a bright, female voice, who is insightful, sensitive and surprisingly funny. As her needs and desires grow, in tandem with his own, their friendship deepens into an eventual love for each other. From the unique perspective of Oscar-nominated filmmaker Spike Jonze comes an original love story that explores the evolving nature—and the risks—of intimacy in the modern world.