You could call Roma the most colorful black-and-white film ever made. After the Centerpiece screening at the 56th New York Film Festival, writer/director Alfonso Cuarón noted how important the visual presentation was to the overall effect of the movie. Crucial among his points was that this black-and-white is “not a nostalgic black-and-white” but instead “modern” and “pristine,” disabusing the viewer of the notion that this tale is unfolding in a long-forgotten place or time. Despite being assured throughout the film that the place is Mexico City and the year is 1971, Roma simultaneously manages to assure you that what’s happening is happening here and now.
You could also single out the production design, the incredible detail in every frame of the film, as a primary contributor to this experience of color in a movie that supposedly doesn’t have any. A sweeping shot of the countryside seems to give off a yellow hue because the lighting is so sunny and natural; muddy brown makes its way into an otherwise cold shot of a discarded action figure and a flattened soccer ball in the garage outside. A rock thrown through a window in one scene leaves a hole that we look through weeks later, and somehow this lasting detail even evokes color in clear glass.
Continue reading Roma (2018)
I arrived late to the party for The Shape of Water, having finally caught the movie a few weeks ago after months and months of dodging reviews online. Guess I’d better add my voice to the fray, huh? Maybe a piece on how writer/director Guillermo del Toro’s creativity allowed him to get away with a smaller budget…but, no, someone’s already written that. How about an article detailing the Creature from the Black Lagoon-inspired genesis of the film? Damn, that one’s been up for three months. Use of color in the film? Been there. Political subtext? Done that. Seems a movie as rich as this should have a surplus of accoutrements on which to festoon my opinions, should have that pliability typical of great films allowing for different readings, interpretations, criticisms, attitudes and judgments.
The irony, in a way, is that explicit analysis of The Shape of Water is sort of counter to the themes of the film. More than that: forcing words onto Shape, which thrives largely on sight and feeling, might actually be detrimental to one’s enjoyment of and identification with the message at hand. Despite having seen the film only recently and only once, I suspect that removing the words entirely — watching it with the volume muted — wouldn’t take anything away from the overall experience. It might even heighten it, highlighting just how different “words” and “communication” actually are.
Continue reading The Shape of Water (2017)
One of the previews that screened before last night’s Boston premiere of Blade Runner 2049 was for next year’s monsters vs. robots actioner Pacific Rim Uprising, an inevitable if somewhat tardy sequel to Guillermo del Toro’s 2013 original. Based solely on this trailer, it’s evident that Uprising centers on the son of the first film’s protagonist, alludes heavily to that first film, and possibly just revamps the plot with slightly louder explosions. I was reminded, regrettably, of Independence Day: Resurgence, which gave off a similar reek of franchise desperation.
And of course this was the general fear heading into 2049
. It’s been 35 years since Blade Runner
established a visual and tonal format for scores of futuristic noirs to come (Dark City, Gattaca, Strange Days
, more), and this is apparently long enough to give up on counterfeiting and make it explicit: time for another Blade Runner
. In 2049
we have K (Ryan Gosling), our new replicant-hunting LAPD hero-hunk, leading us through the same streets Rick Deckard (Harrison Ford) traversed back in 1982. There is a new mystery at hand, yes, but there is also heavy allusion to the beloved original disseminated through visual cues, recycled dialogue, occasional cameos and, as is par for the course these days, a victory lap for Ford.
Continue reading Blade Runner 2049 (2017)
- The bad guy is back: Empire has released a few new pictures from next year’s Suicide Squad featuring Jared Leto’s Joker. Just in time for Halloween!
- SNL is set to be hosted by Matthew McConaughey for the first time in over a decade, and Adele will be the musical guest. That might just be enough for me to actually tune into SNL again.
- Sherlock: The Abominable Bride, the highly-anticipated Christmas Special and return of the BBC show, will air on both sides of the Atlantic on January 1st, 2016.
- Even if you haven’t seen Crimson Peak yet, this conversation between director Guillermo del Toro and fellow directors Christopher Nolan and Alejandro González Iñárritu is highly recommended.
Continue reading Film & TV News: October 27
- The jury at the 2015 Cannes Film Festival (which included the Coen Brothers, Jake Gyllenhaal, Sienna Miller, Guillermo del Toro, Xavier Dolan and a few more) selected champions yesterday as the festival comes to a close. The Palme d’Or went to Dheepan, the Grand Prize went to the Holocaust drama Son of Saul, acting awards went to Rooney Mara and the fantastic Vincent Lindon, and the best screenplay award went to Michel Franco for Chronic. Whew!
- Ex Machina‘s Alicia Vikander is rumored to be in talks for both Assassin’s Creed and the next installment of the Bourne franchise. If she doesn’t get either role, we’ll be more than content to just watch Ex Machina again.
- Empire has released the first pictures from Ridley Scott’s The Martian, starring Matt Damon and everyone else who’s in every movie these days. From the looks of the photo above, The Martian may touch on the theme of man’s singular place in the vast and unknowable universe. Shocking.
Continue reading Film & TV News: May 25