SHORT WEEK #2: The Death and Return of Superman (2012)
A lesson in self-indulgence. If you have any exposure to Max Landis, you’ll instantly gravitate to the poles of love or hate. Here is a guy whose social dysfunction has him constantly restate he’s a guy no one likes because of his self-aware obnoxious personality and the only reason he’s in front of a camera is because he’s John Landis’ son. That said, when Max is on point, he’s a riot.
This is a reposting from my old blog (posted Jan 22, 2012)
This article, like most articles on this site, contain spoilers. This article in particular talks at length about this game’s ending.
Just like any other visual medium, video games have conventions. Video games can play on these or avoid them to stir particular responses in players, and in turn players have begun anticipating what have developed into cliches. Like other mediums, these tropes can become tired and result in backlash, as seen frequently in the recycling market of video games. Sometimes it feels like the video game industry is a creative graveyard, where bright ideas are squashed or at least dumped to the sidelines through indie games, and even the brightest developers rehash their own innovations. Even with this brand of cynicism, it’s possible to discover something new and be reminded that bold game design still exists in the mainstream. Certain games combine traits we are familiar with but tweak them and subvert them to deceive players, and in the case of Shadow of the Colossus, provide an uncanny experience that feels almost nostalgic, yet new. One of the most cited examples in the eternal “are games art?” debate,Shadow of the Colossus certainly looks the part. It is simultaneously slow, cinematic, dreary, and emotional. How did Shadow of the Colossus manage to create an experience that is all of these things, yet avoid the trappings of typical genres and conventions? How was Team ICO able to craft something so deep out of an experience that looks so shallow?
As I’ve done the past two years, I’m combing through the TIFF 2013 festival films so you don’t have to! Take a look at what I have picked for must-see’s and make your own selection. I will continually update this post as more titles are announced and may randomly drop a title from the list without warning so if it looks good to you, save it. I’m trying to keep the selection to 20-30 titles max.
List is ROUGHLY ordered by my own preference.
There are only two rules:
1. No movie released in Toronto theatres before October 15 will be considered. 2. No movie in the GALA programme will be considered (because they are $40 tickets and don’t work with flex packs usually so fuck em)
"The Midnight Sun": Episode 75 of The Twilight Zone
The poles of fear, the extremes of how the Earth might conceivably be doomed. Minor exercise in the care and feeding of a nightmare, respectfully submitted by all the thermometer-watchers in the Twilight Zone.
Some video games find an audience, most don’t. Video game successes tend to correlate with marketing budgets these days, and unlike movies, they aren’t afforded the shelf life of movies to hope to discover fans later on. If not discovered and discussed, many games evaporate from cultural consciousness completely. I know this is a movie blog, but I’m going to take some time to explores games that few loved, but loved lots. This is a repost from my old blog.
What you are about to watch is a nightmare. It is not meant to be prophetic, it need not happen, it’s the fervent and urgent prayer of all men of good will that it never shall happen. But in this place, in this moment, it does happen. This is the Twilight Zone.
An ideal cut (for me) is one that satisfies all the following six criteria at once:
5. Two-dimensional plane of screen
6. Three-dimensional space of action
Now, in practice, you will find that those top three things on the list—emotion, story, rhythm—are extremely tightly connected. The forces that bind them together are like the bonds between the protons and neutrons in the nucleus of the atom…
What I’m suggesting is a list of priorities. If you have to give up something, don’t ever give up emotion before story.
”—Walter Murch (editor, Apocalypse Now) — In The Blink Of An Eye (2nd Edition)
People have often said to me, “why not do it the way Hitchcock did and just suggest things?” and first of all I say, “have you ever seen ‘Frenzy’?” because I think Hitchcock’s reticence to show stuff really had more to do with the temper of the times and the censorship of the times than it did with his own demons.
I have to show things because I am showing things that people could not imagine.
“We may be impressed by the visual effect, but we aren’t impressed by the achievement. Watching these silent films, we feel a kind of awe, because we see that the sets are really there, and really that size.”—Roger Ebert, discussing Cabiria (1914). The world’s first epic film.
“Shooting is never a pleasant experience for me. The only enjoyable aspect is working with people you care for. Sometimes, there’s also a magical moment when something unexpected happens, and that’s gratifying, but only for a few seconds. The torture start again straightaway! THe shoot is the phase I enjoy least. I much prefer editing. That’s when everything takes shape, even though depression is just around the corner when things don’t work.”—Martin Scorsese, Scorsese On Scorsese
“Realism, as usual, is simply a fig leaf for doing what you want. Virtually any technique can be justified as realistic according to some conception of what’s important in the scene. If you shoot the action cogently, with all the moves evident, that’s realistic because it shows you what’s ‘really’ happening. If you shoot it awkwardly, that presentation is ‘realistically’ reflecting what a participant perceives or feels. If you shoot it as ‘chaos’ (another description that Nobles applies to the Expendables action scenes)—well, action feels chaotic when you’re in it, right? Forget the realist alibi. What do you want your sequence to do to the viewer?”—David Bordwell, Observations on film art