3 items from 2017
The latest installment in the filmmaker's series of journal-films combining iPhone footage and sounds and images from movies. A diary penned with cinema.Journal (6.6.16 - 1.10.17)feat. additional footage from Masha Tupitsyn and Isiah MedinaMy journal-film series (of which this is the third installment) came to be as a means of resolving the points of convergence and departure amongst the environments I occupy and those which I encounter in cinema. I like to view these films as a method of managing the images that take up my thoughts and memories into a new continuity, one in which the distinction between images seen on-screen and those personally experienced is no longer absolute. In dissolving this partition, these films provide a vector for the animation conceptual concerns through cinema - montage fulfilling that which language can only formally describe and vice versa. The following essay outlines some of the concerns this film attempts »
Nick Aldwinckle Mar 2, 2017
Any regular readers (there must be a few of you; there must be) will be more than aware of this writer’s borderline obsessive love for the movies of one John Carpenter. You’ve got your Halloween, The Thing, They Live or The Fog, but everyone knows the real quality comes in the form of the later films in this cult film-maker, lord of the synth and accomplished ‘tache-wearer’s career and the classics that are Escape From L.A and his TV-movie take on Village Of The Damned. No? Ok, those are both more than a little iffy, but with the latest Blu-ray release of two other generally maligned late efforts in Carpenter’s body of work, we ask the age-old question 'Was Vampires really that bad?'
Let’s get this out of the way, vulgarians: Resident Evil: The Final Chapter is a bit different than the past Paul W.S. Anderson-directed entries. As evident from its initial trailer and clips, hand-held camerawork and frenetic cutting have come to replace the balletic action choreography praised as “bodies in motion and / or space” by numerous online film pundits. Which is not to act as if Anderson handed off the reins of his beloved franchise to Olivier Megaton or somebody, but this newest installment can’t necessarily be treated as another victory lap for Anderson’s superior technique. (Don’t worry: there are still plenty of corridors and trap doors to waltz through.) Yet once one is acclimated to this chaos-cinema form, even if it’s a bit more assaultive in post-converted 3D, the writer-director’s simultaneous economic storytelling and boyish imagination come into clear view.
It may have »
- Ethan Vestby
3 items from 2017
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