Moving Target: The History and Evolution of Green Arrow by Richard Gray. Sequart, $17.99 paperback; $6.99 Kindle edition
Way back when, Green Arrow was sort of the “always a bridesmaid, never a bride” of the superhero set. For a long time, fans could enjoy a new Green Arrow adventure just about every month, but he didn’t enjoy the headliner popularity of his hero pals like Batman or even Wonder Woman.
That’s all almost forgotten now. Today, so many fans enjoy this modern-day Robin Hood in comics, on TV and with licensed merchandise.
For some, Green Arrow became “a thing” when he debuted on TV, first as one of Superboy’s pals in Smallville and then in his own series. (He was briefly on Saturday morning cartoons before that too.)
Comics fan, and local dad, Greg Parker started with the TV series and now reads the comics. “In today’s...
Way back when, Green Arrow was sort of the “always a bridesmaid, never a bride” of the superhero set. For a long time, fans could enjoy a new Green Arrow adventure just about every month, but he didn’t enjoy the headliner popularity of his hero pals like Batman or even Wonder Woman.
That’s all almost forgotten now. Today, so many fans enjoy this modern-day Robin Hood in comics, on TV and with licensed merchandise.
For some, Green Arrow became “a thing” when he debuted on TV, first as one of Superboy’s pals in Smallville and then in his own series. (He was briefly on Saturday morning cartoons before that too.)
Comics fan, and local dad, Greg Parker started with the TV series and now reads the comics. “In today’s...
- 9/18/2017
- by Ed Catto
- Comicmix.com
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The X-Wing was central to the Star Wars Original Trilogy. But what does its evolution through the films tell us?
Spoilers for the two Star Wars trilogies to date lie within, as well as Star Wars: The Clone Wars.
Incom’s T-65B fighter, and its precursors, have been a staple of the Star Wars universe from the moment that we arrive at Yavin IV’s Massassi temple just prior to A New Hope’s climactic battle. Pitched in supplementary material as an easy-to-fly fighter, adopting the same control system as the common-or-garden T-16 Skyhopper - a vehicle beloved of farm boys across the galaxy looking to bullseye Womp Rats - its simplicity goes some way to explaining Luke Skywalker’s seemingly inherent ability to fly one with the best of them straight off the bat.
Though the fact his dad was a bit of natural helped as well,...
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The X-Wing was central to the Star Wars Original Trilogy. But what does its evolution through the films tell us?
Spoilers for the two Star Wars trilogies to date lie within, as well as Star Wars: The Clone Wars.
Incom’s T-65B fighter, and its precursors, have been a staple of the Star Wars universe from the moment that we arrive at Yavin IV’s Massassi temple just prior to A New Hope’s climactic battle. Pitched in supplementary material as an easy-to-fly fighter, adopting the same control system as the common-or-garden T-16 Skyhopper - a vehicle beloved of farm boys across the galaxy looking to bullseye Womp Rats - its simplicity goes some way to explaining Luke Skywalker’s seemingly inherent ability to fly one with the best of them straight off the bat.
Though the fact his dad was a bit of natural helped as well,...
- 12/12/2015
- by simonbrew
- Den of Geek
Everyone from Little Golden Books to CoverGirl to the British Royal Mail has come down with Star Wars fever. After the jump: The British Royal Mail unveils Star Wars stamps featuring Finn, Rey, and more Check out three new Star Wars Little Golden Book covers The Art of Star Wars: The Force Awakens hits shelves December […]
The post Star Wars Bits: The Art of Star Wars: The Force Awakens, Little Golden Books, PlayStation 4, Moving Target appeared first on /Film.
The post Star Wars Bits: The Art of Star Wars: The Force Awakens, Little Golden Books, PlayStation 4, Moving Target appeared first on /Film.
- 9/14/2015
- by Angie Han
- Slash Film
Star Wars: The Force Awakens' Force Friday event unveiled dozens of new toys, costumes and collectibles, and your bank balance is about to take a pounding.
To help you navigate the galaxy of gifts you'll want to buy - and to prevent yourself from ordering too much - here is a digested sample of the best Lucasfilm's merchandise team has to offer.
1. Star Wars: The Black Series 6-Inch Action Figures
Rrp: $19.99 (£13.17)
Characters include Finn (Jakku), Rey (Jakku) with Bb-8, Kylo Ren, Captain Phasma, First Order Stormtrooper, Chewbacca, Poe Dameron, Constable Zuvio (Who he?), First Order Snowtrooper and more. Needless to say, each sold separately. Side note: is that a gun or drill in Finn's hand?
2. Star Wars Nerf First Order Stormtrooper Deluxe Blaster
Rrp: $39.99 (£26.36)
Handily, this comes with a 12-dart clip - featuring Star Wars-emblazoned darts - "slam-fire action", removable sight and detachable stock. Bear in mind...
To help you navigate the galaxy of gifts you'll want to buy - and to prevent yourself from ordering too much - here is a digested sample of the best Lucasfilm's merchandise team has to offer.
1. Star Wars: The Black Series 6-Inch Action Figures
Rrp: $19.99 (£13.17)
Characters include Finn (Jakku), Rey (Jakku) with Bb-8, Kylo Ren, Captain Phasma, First Order Stormtrooper, Chewbacca, Poe Dameron, Constable Zuvio (Who he?), First Order Snowtrooper and more. Needless to say, each sold separately. Side note: is that a gun or drill in Finn's hand?
2. Star Wars Nerf First Order Stormtrooper Deluxe Blaster
Rrp: $39.99 (£26.36)
Handily, this comes with a 12-dart clip - featuring Star Wars-emblazoned darts - "slam-fire action", removable sight and detachable stock. Bear in mind...
- 9/4/2015
- Digital Spy
Here’s a look at the new Star Wars toys that are out today!
Merchandise inspired by the highly anticipated new movie Star Wars: The Force Awakens launched at retailers around the globe as ‘Force Friday’ officially got underway. Hot off the heels of the 18+ hour global live unboxing event on YouTube where highlights of the new product range were officially unveiled, the celebration continued as more than 3,000 retail locations in the U.S. opened their doors at midnight for fans to be among the first to discover new Star Wars products.
Lego Star Wars Millenium Falcon..Licensee: Lego.Msrp: $149.99.Available: September 4. .One of the most iconic starships of the Star Wars saga is back, and it?s leaner and meaner than ever before! As featured in exciting scenes from Star Wars: The Force Awakens, this latest Lego? version of the Millennium Falcon is crammed with new and updated external features,...
Merchandise inspired by the highly anticipated new movie Star Wars: The Force Awakens launched at retailers around the globe as ‘Force Friday’ officially got underway. Hot off the heels of the 18+ hour global live unboxing event on YouTube where highlights of the new product range were officially unveiled, the celebration continued as more than 3,000 retail locations in the U.S. opened their doors at midnight for fans to be among the first to discover new Star Wars products.
Lego Star Wars Millenium Falcon..Licensee: Lego.Msrp: $149.99.Available: September 4. .One of the most iconic starships of the Star Wars saga is back, and it?s leaner and meaner than ever before! As featured in exciting scenes from Star Wars: The Force Awakens, this latest Lego? version of the Millennium Falcon is crammed with new and updated external features,...
- 9/4/2015
- by Michelle McCue
- WeAreMovieGeeks.com
WWE star Mike ‘The Miz’ Mizanin and Summer Rae costar in the latest action flick out of WWE Studios, Marine 4: Moving Target. The Miz & Summer Rae In Marine 4, The Miz stars in the lead role as Jake Carter, a marine-turned-agent tasked with protecting whistleblower Olivia Tanis (Melissa Roxburgh) from any imminent threats. […]
The post Mike ‘The Miz’ Mizanin & Summer Rae On ‘Marine 4,’ & WWE [Exclusive] appeared first on uInterview.
The post Mike ‘The Miz’ Mizanin & Summer Rae On ‘Marine 4,’ & WWE [Exclusive] appeared first on uInterview.
- 5/7/2015
- by Chelsea Regan
- Uinterview
Taken 3 Easily one of the worst movies of 2015 is coming home to DVD and Blu-ray this weekend. To quote my review, "No one cared. No one. Neeson cashed the check and good on him for that. If they want to continue making these things they better pay you."
Cake Jennifer Aniston got a lot of attention for not wearing any makeup in this movie. It almost earned her an Oscar nomination, now, you get to see what all the fuss was about. I personally never ended up seeing this movie. I just couldn't muster the energy or want to watch it. Here's the plot if you so desire: Jennifer Aniston plays Claire Bennett, who initiates a dubious relationship with a widower (Worthington) while confronting fantastical hallucinations of his dead wife (Kendrick). With her feisty housekeeper and caretaker (Barraza) ever at her side, Claire searches for human connection and self-forgiveness in this tale of redemption.
Cake Jennifer Aniston got a lot of attention for not wearing any makeup in this movie. It almost earned her an Oscar nomination, now, you get to see what all the fuss was about. I personally never ended up seeing this movie. I just couldn't muster the energy or want to watch it. Here's the plot if you so desire: Jennifer Aniston plays Claire Bennett, who initiates a dubious relationship with a widower (Worthington) while confronting fantastical hallucinations of his dead wife (Kendrick). With her feisty housekeeper and caretaker (Barraza) ever at her side, Claire searches for human connection and self-forgiveness in this tale of redemption.
- 4/21/2015
- by Brad Brevet
- Rope of Silicon
Disney is planning to release at least 20 Star Wars books before the release of Episode VII: The Force Awakens.
The novels will explain what happened between Return of the Jedi and the latest film in the series, according to The Hollywood Reporter.
Journey to Star Wars: The Force Awakens will be considered canonical to the Star Wars movie series, unlike the Star Wars Expanded Universe novels, which Disney's Lucasfilm recently stated were not part of the official story.
The novels will centre on characters from the original trilogy including Luke Skywalker and Han Solo, while others will tell the stories of the films from the viewpoint of supporting characters.
They will be released by several different publishers including Disney's Marvel Comics and sci-fi publisher Del Rey, and have been organised with the full corporation of the studio.
"The Force Awakens is an extraordinarily heavily-guarded storyline. To track it, a...
The novels will explain what happened between Return of the Jedi and the latest film in the series, according to The Hollywood Reporter.
Journey to Star Wars: The Force Awakens will be considered canonical to the Star Wars movie series, unlike the Star Wars Expanded Universe novels, which Disney's Lucasfilm recently stated were not part of the official story.
The novels will centre on characters from the original trilogy including Luke Skywalker and Han Solo, while others will tell the stories of the films from the viewpoint of supporting characters.
They will be released by several different publishers including Disney's Marvel Comics and sci-fi publisher Del Rey, and have been organised with the full corporation of the studio.
"The Force Awakens is an extraordinarily heavily-guarded storyline. To track it, a...
- 3/11/2015
- Digital Spy
Do you have nightmares about Bill Lumbergh telling you to put new cover sheets on your Tps reports? For some, the corporate cubicle setting is as horrifying as the creepy boiler rooms that Freddy Krueger haunts in the A Nightmare on Elm Street movies. Script excerpts and storyboards for an imagined tenth film in the Elm Street franchise show Freddy tormenting a coma patient by placing him in a mind-numbing office environment where meaningless meetings, tear-inducing small talk, and countless hours of hellish tasks reign supreme, with no escape in sight. Also included in our latest round-up are Blu-ray / DVD release details and cover art for the Salma Hayek-starring Everly and information on the 20 recently announced Star Wars books that will take place in the time period between Star Wars: Episode VI - Return of the Jedi and Star Wars: Episode VII - The Force Awakens.
A Nightmare on Elm Street...
A Nightmare on Elm Street...
- 3/10/2015
- by Derek Anderson
- DailyDead
I would absolutely love to get a look at the financials when it comes to what studio films make at the box office versus what they bring home in licensing. For many I'm sure there isn't all that much that comes from licensing, but when you get into today's big franchise features the story begins to shift and perhaps the largest of all-time is Star Wars. George Lucas created a merchandising empire with his sci-fi series and it is now in the hands of the only successor able to carry on as if nothing has changed, Disney. Word out of Entertainment Weekly is that Disney is already prepping a new book series titled "Journey to Star Wars: The Force Awakens", which will bridge the gap between Star Wars: Episode VI - Return of the Jedi and the forthcoming Star Wars: Episode VII - The Force Awakens, leading up to the film's December 18 release.
- 3/10/2015
- by Brad Brevet
- Rope of Silicon
Lucasfilm have announced plans for at least twenty "Star Wars"-related books to hit shelves this year. The book range, which includes adult and teen-centric novels along with story and sticker books, are said to detail events in the thirty-two year gap between "Return of the Jedi" and the upcoming "Star Wars: The Force Awakens".
As previously reported, Disney and Lucasfilm have started over with the franchise's official 'canon' so "Star Wars" related literature published from this point on is officially canon. Disney Publishing Worldwide executive VP Andrew Sugerman says:
"The Force Awakens is an extraordinarily, heavily guarded storyline. To track it, a lot of top-secret meetings were happening up in San Francisco as we worked through this program.
The partnership with the story group and the editorial team always had to be true to the sanctity of the film while making sure that we find these moments to introduce hints,...
As previously reported, Disney and Lucasfilm have started over with the franchise's official 'canon' so "Star Wars" related literature published from this point on is officially canon. Disney Publishing Worldwide executive VP Andrew Sugerman says:
"The Force Awakens is an extraordinarily, heavily guarded storyline. To track it, a lot of top-secret meetings were happening up in San Francisco as we worked through this program.
The partnership with the story group and the editorial team always had to be true to the sanctity of the film while making sure that we find these moments to introduce hints,...
- 3/10/2015
- by Garth Franklin
- Dark Horizons
Today's MPAA ratings bulletin is a little light, but it does have a movie I'm highly anticipating in Yann Demange's '71 starring Jack O'Connell (Starred Up, Unbroken), which has had good buzz throughout the entire year since premiering in Berlin back in February. Roadside isn't releasing it until February, but it's one to add to your most anticipated lists. Then there is the Entourage movie coming in June, which I really couldn't care less about having never watched the show, but I'm sure some fans are interested. The complete bulletin is listed below. '71 Rated R For strong violence, disturbing images, and language throughout. Release Date: February 27, 2015 Batman vs. Robin Rated PG-13 For intense action and violence, suggestive images and thematic elements. Deli Man Rated PG-13 For some language. Devil May Call Rated R For violence. Entourage Rated R For pervasive language, strong sexual content, nudity and some drug use.
- 12/10/2014
- by Brad Brevet
- Rope of Silicon
This week on ABC’s Castle, Rick went rogue in the name of tracking down Alexis — but what he found instead was someone who’s been missing from his life for decades.
Video | Spoiler Alert! Has an Update on Castle‘s Season 6 Renewal Outlook
‘I’M Getting My Daughter Back’ | As Rick tries to process last week’s big reveal — that Alexis and Sara are being held in Paris — FBI agent Harris says the next step is to acquire the necessary “permissions” from the U.S. embassy there to continue their hunt abroad. And that does not fly with Rick:...
Video | Spoiler Alert! Has an Update on Castle‘s Season 6 Renewal Outlook
‘I’M Getting My Daughter Back’ | As Rick tries to process last week’s big reveal — that Alexis and Sara are being held in Paris — FBI agent Harris says the next step is to acquire the necessary “permissions” from the U.S. embassy there to continue their hunt abroad. And that does not fly with Rick:...
- 2/26/2013
- by Matt Webb Mitovich
- TVLine.com
News.
One of the greatest Japanese directors, Nagisa Oshima, has passed away at the age of 80. Criterion remembers him in words and images. The Berlin Film Festival has unveiled more details of its Panorama section and has announced some "Special" screenings. It looks like John McTiernan, one of our favorite Vulgar Auteurs, is, um, heading to jail. Senses of Cinema has published their massive 2012 World Poll in three parts (1, 2, 3). Our own Daniel Kasman, David Phelps, Gina Telaroli and Celluloid Liberation Front (who, if the Poll were a competition, would win—hands-down) are among the participants. Finds.
Above: David Bordwell on the "thirteen years that changed cinema": 1908-1920. For Cinema Scope, Michael Vass interviews Antoine Bourges about his documentary East Hastings Pharmacy.
The Los Angeles Film Critics Association awarded Holy Motors as the "Best Foreign-Language Film". Leos Carax wasn't present but provided them with a speech. Listen here, or read below:
"Hello,...
One of the greatest Japanese directors, Nagisa Oshima, has passed away at the age of 80. Criterion remembers him in words and images. The Berlin Film Festival has unveiled more details of its Panorama section and has announced some "Special" screenings. It looks like John McTiernan, one of our favorite Vulgar Auteurs, is, um, heading to jail. Senses of Cinema has published their massive 2012 World Poll in three parts (1, 2, 3). Our own Daniel Kasman, David Phelps, Gina Telaroli and Celluloid Liberation Front (who, if the Poll were a competition, would win—hands-down) are among the participants. Finds.
Above: David Bordwell on the "thirteen years that changed cinema": 1908-1920. For Cinema Scope, Michael Vass interviews Antoine Bourges about his documentary East Hastings Pharmacy.
The Los Angeles Film Critics Association awarded Holy Motors as the "Best Foreign-Language Film". Leos Carax wasn't present but provided them with a speech. Listen here, or read below:
"Hello,...
- 1/16/2013
- by Adam Cook
- MUBI
Part of the Tony Scott: A Moving Target critical project. Go here for the project's description, index and links to project's other movement.
To the overabundance of text, sounds, images—and moving images—in Tony Scott, we reply with something like our own. So let me (try to) keep this (almost as) short as a Tony Scott shot. Scott’s death this past summer would elicit film critics’ own counterpart to American politics: opinions and generalizations bandied between two camps who were, as always, preaching to their respective choirs. And needless to say, such discourses would be about as useful, informative, and interesting as American politics. For Scott’s work was hardly encamped: the outward liberalism of Enemy of the State, perhaps Hollywood’s most overt attack on our surveillance nation and the Nsa, possible only before 9/11, concludes that only Nsa aspirants can take down the Nsa, just as Man on Fire,...
To the overabundance of text, sounds, images—and moving images—in Tony Scott, we reply with something like our own. So let me (try to) keep this (almost as) short as a Tony Scott shot. Scott’s death this past summer would elicit film critics’ own counterpart to American politics: opinions and generalizations bandied between two camps who were, as always, preaching to their respective choirs. And needless to say, such discourses would be about as useful, informative, and interesting as American politics. For Scott’s work was hardly encamped: the outward liberalism of Enemy of the State, perhaps Hollywood’s most overt attack on our surveillance nation and the Nsa, possible only before 9/11, concludes that only Nsa aspirants can take down the Nsa, just as Man on Fire,...
- 12/3/2012
- by gina telaroli
- MUBI
This article is part of the critical project Tony Scott: A Moving Target in which an analysis of a scene from a Tony Scott film is passed anonymously to the next participant in the project to respond to with an analysis of his or her own.
movement index | the next analysis ->
Here we have a relatively simple scene from what I would argue is the pivotal Tony Scott movie, Crimson Tide (1995), in large part because it is, I might also argue, a relatively simple movie. In fact, when it came out, one of my dad's girlfriends liked to joke about how it's "the one with the two macho guys who just yell, 'I want to push the button!' and 'You don't get to push the button!' at each other for 90 minutes." That's putting it just a little too simple for my tastes, but, you get the...
movement index | the next analysis ->
Here we have a relatively simple scene from what I would argue is the pivotal Tony Scott movie, Crimson Tide (1995), in large part because it is, I might also argue, a relatively simple movie. In fact, when it came out, one of my dad's girlfriends liked to joke about how it's "the one with the two macho guys who just yell, 'I want to push the button!' and 'You don't get to push the button!' at each other for 90 minutes." That's putting it just a little too simple for my tastes, but, you get the...
- 12/3/2012
- by Ryland Walker Knight
- MUBI
This article is part of the critical project Tony Scott: A Moving Target in which an analysis of a scene from a Tony Scott film is passed anonymously to the next participant in the project to respond to with an analysis of his or her own.
<- the previous analysis | movement index | the next analysis ->
Righteous-subordination-as-genuine-patriotism is the theme of Scott's Enemy of the State, a theme that's transferred over from his earlier effort Crimson Tide. Between the two projects, there is also a noteworthy role reversal: Hackman exchanges the mantle of Captain Ramsey’s blindly nationalistic aggressor for that of the justifiably paranoid super-hacker, Brill. Brill has been targeted Public Enemy No. 1 due to his cyber-civil-disobedience against the proposed “Telecommunications Security and Privacy Act,” a kind of prescient, long way of saying The P.A.T.R.I.O.T. Act (which it turns out is actually a short way of saying: Uniting and Strengthening America...
<- the previous analysis | movement index | the next analysis ->
Righteous-subordination-as-genuine-patriotism is the theme of Scott's Enemy of the State, a theme that's transferred over from his earlier effort Crimson Tide. Between the two projects, there is also a noteworthy role reversal: Hackman exchanges the mantle of Captain Ramsey’s blindly nationalistic aggressor for that of the justifiably paranoid super-hacker, Brill. Brill has been targeted Public Enemy No. 1 due to his cyber-civil-disobedience against the proposed “Telecommunications Security and Privacy Act,” a kind of prescient, long way of saying The P.A.T.R.I.O.T. Act (which it turns out is actually a short way of saying: Uniting and Strengthening America...
- 12/3/2012
- by Ben Simington
- MUBI
This article is part of the critical project Tony Scott: A Moving Target in which an analysis of a scene from a Tony Scott film is passed anonymously to the next participant in the project to respond to with an analysis of his or her own.
<- the previous analysis | movement index | the next analysis ->
One of Tony Scott’s signature techniques for layering otherwise conventional shots and framing with aesthetic accents that can serve as metaphors for larger ideas is echoed in his use of moving image material imbedded in the movies themselves. He constructs his extraordinary thriller, Domino, as a feverish memory scape in which past and present overlaps, reverses, erases and recalls. Domino Harvey, the daughter of the great actor Laurence Harvey, has defined her life as a kind of antipodal existence to her father, leading her to the dubious and ultraviolent profession of bounty hunter. In a radical gesture because it lands on the...
<- the previous analysis | movement index | the next analysis ->
One of Tony Scott’s signature techniques for layering otherwise conventional shots and framing with aesthetic accents that can serve as metaphors for larger ideas is echoed in his use of moving image material imbedded in the movies themselves. He constructs his extraordinary thriller, Domino, as a feverish memory scape in which past and present overlaps, reverses, erases and recalls. Domino Harvey, the daughter of the great actor Laurence Harvey, has defined her life as a kind of antipodal existence to her father, leading her to the dubious and ultraviolent profession of bounty hunter. In a radical gesture because it lands on the...
- 12/3/2012
- by Robert Koehler
- MUBI
This article is part of the critical project Tony Scott: A Moving Target in which an analysis of a scene from a Tony Scott film is passed anonymously to the next participant in the project to respond to with an analysis of his or her own.
<- the previous analysis | movement index | the next analysis ->
Tony Scott always likes to combine the old with the new. He is fascinated by the latest digital and electronic technologies, which he both uses to make his films, and also depicts within them. But he is equally fascinated by older technologies, like the trains that stand at the center of his last two films, The Taking of Pelham 1 2 3 and Unstoppable. These older technologies still persist alongside the newer ones, just as blockbuster movies, such as the ones he made, still persist in the world of video games and YouTube remixes. Even in our cyber-era, people still ride trains; and...
<- the previous analysis | movement index | the next analysis ->
Tony Scott always likes to combine the old with the new. He is fascinated by the latest digital and electronic technologies, which he both uses to make his films, and also depicts within them. But he is equally fascinated by older technologies, like the trains that stand at the center of his last two films, The Taking of Pelham 1 2 3 and Unstoppable. These older technologies still persist alongside the newer ones, just as blockbuster movies, such as the ones he made, still persist in the world of video games and YouTube remixes. Even in our cyber-era, people still ride trains; and...
- 12/3/2012
- by Steven Shaviro
- MUBI
This article is part of the critical project Tony Scott: A Moving Target in which an analysis of a scene from a Tony Scott film is passed anonymously to the next participant in the project to respond to with an analysis of his or her own.
<- the previous analysis | movement index | the next analysis ->
When I started to get really interested in Tony Scott in the 90s, a friend of mine and I used to joke fondly about his signature text inserts of time and place (like “Occuquan Park, Maryland 0645 hrs.” over the very first image of Enemy of the State). Only after Scott fully entered his late, astonishing action painter phase starting with Man on Fire in 2004, did I realize we had instinctively hit on a key element of his work: Having studied art with the intention to become a painter before he ended up as a filmmaker, Scott had in some ways never completely abandoned...
<- the previous analysis | movement index | the next analysis ->
When I started to get really interested in Tony Scott in the 90s, a friend of mine and I used to joke fondly about his signature text inserts of time and place (like “Occuquan Park, Maryland 0645 hrs.” over the very first image of Enemy of the State). Only after Scott fully entered his late, astonishing action painter phase starting with Man on Fire in 2004, did I realize we had instinctively hit on a key element of his work: Having studied art with the intention to become a painter before he ended up as a filmmaker, Scott had in some ways never completely abandoned...
- 12/3/2012
- by The Ferroni Brigade
- MUBI
This article is part of the critical project Tony Scott: A Moving Target in which an analysis of a scene from a Tony Scott film is passed anonymously to the next participant in the project to respond to with an analysis of his or her own.
<- the previous analysis | movement index | the next analysis ->
“They say this place here is haunted.
Yeah, but only by a ghost...”
It’s a good way to burrow in, those Superimpositions. Those defiant anti-subtitles. “I’m having Font issues...” Walken whines somewhere. Me too. My favorite is in Domino: the fabulously absurd and banal, the “with Dad” that over-clarifies that the guy who looks nothing like Lawrence Harvey (who ever did?), that guy we’ve just seen in The Manchurian Candidate in 1962 is, in the diegetic account, still alive, and still her father in 1993. Markerian is supposedly the word for this.
Superimposition of text—against and over the weak image.
<- the previous analysis | movement index | the next analysis ->
“They say this place here is haunted.
Yeah, but only by a ghost...”
It’s a good way to burrow in, those Superimpositions. Those defiant anti-subtitles. “I’m having Font issues...” Walken whines somewhere. Me too. My favorite is in Domino: the fabulously absurd and banal, the “with Dad” that over-clarifies that the guy who looks nothing like Lawrence Harvey (who ever did?), that guy we’ve just seen in The Manchurian Candidate in 1962 is, in the diegetic account, still alive, and still her father in 1993. Markerian is supposedly the word for this.
Superimposition of text—against and over the weak image.
- 12/3/2012
- by Uncas Blythe
- MUBI
This article is part of the critical project Tony Scott: A Moving Target in which an analysis of a scene from a Tony Scott film is passed anonymously to the next participant in the project to respond to with an analysis of his or her own.
<- the previous analysis | movement index | the next analysis ->
Writing about a specific scene in Scott's oeuvre becomes a confused task when looking at the later films. This is precisely because more often than not scenes and spaces bleed into and away from one another in a way which dissolves the very idea that scenes can be autonomous. But let's try anyways: Unstoppable. A final film—but not really, perhaps too small when placed beside Déjà Vu or Man on Fire. Or maybe not...
The climax of the picture: Denzel Washington's Frank, a cantankerous man of duty and precision, barrels down freight car by freight car locking the manual brakes of the film's titular force.
<- the previous analysis | movement index | the next analysis ->
Writing about a specific scene in Scott's oeuvre becomes a confused task when looking at the later films. This is precisely because more often than not scenes and spaces bleed into and away from one another in a way which dissolves the very idea that scenes can be autonomous. But let's try anyways: Unstoppable. A final film—but not really, perhaps too small when placed beside Déjà Vu or Man on Fire. Or maybe not...
The climax of the picture: Denzel Washington's Frank, a cantankerous man of duty and precision, barrels down freight car by freight car locking the manual brakes of the film's titular force.
- 12/3/2012
- by Kurt Walker
- MUBI
This article is part of the critical project Tony Scott: A Moving Target in which an analysis of a scene from a Tony Scott film is passed anonymously to the next participant in the project to respond to with an analysis of his or her own.
<- the previous analysis | movement index | the next analysis ->
To me, this idea that the joy Tony Scott took in directing came from a curiosity and thirst for life seems essential to watching his films. What is cinema if not a window through which to touch worlds we’ve never touched before? What if Scott’s maximalist mise-en-scene, his persistent attempt–through sophisticated montage–to fit the utmost information in the frame, was the only way he knew how to express the combination of fear, adrenaline, and joy that he was always chasing (whether making films or climbing mountains)? Let’s remember what he said of the characters in Domino, “always chasing the dark side of life,...
<- the previous analysis | movement index | the next analysis ->
To me, this idea that the joy Tony Scott took in directing came from a curiosity and thirst for life seems essential to watching his films. What is cinema if not a window through which to touch worlds we’ve never touched before? What if Scott’s maximalist mise-en-scene, his persistent attempt–through sophisticated montage–to fit the utmost information in the frame, was the only way he knew how to express the combination of fear, adrenaline, and joy that he was always chasing (whether making films or climbing mountains)? Let’s remember what he said of the characters in Domino, “always chasing the dark side of life,...
- 12/3/2012
- by Otie Wheeler
- MUBI
This article is part of the critical project Tony Scott: A Moving Target in which an analysis of a scene from a Tony Scott film is passed anonymously to the next participant in the project to respond to with an analysis of his or her own.
<- the previous analysis | movement index | the next analysis ->
***
"If this government ever became a tyranny, if a dictator ever took charge in this country, the technological capacity that the intelligence community has given the government could enable it to impose total tyranny, and there would be no way to fight back, because the most careful effort to combine together in resistance to the government, no matter how privately it was done, is within the reach of the government to know. Such is the capability of this technology. I don't want to see this country ever go across the bridge. I know the capability that is there to make tyranny total in America,...
<- the previous analysis | movement index | the next analysis ->
***
"If this government ever became a tyranny, if a dictator ever took charge in this country, the technological capacity that the intelligence community has given the government could enable it to impose total tyranny, and there would be no way to fight back, because the most careful effort to combine together in resistance to the government, no matter how privately it was done, is within the reach of the government to know. Such is the capability of this technology. I don't want to see this country ever go across the bridge. I know the capability that is there to make tyranny total in America,...
- 12/3/2012
- by David Phelps
- MUBI
This article is part of the critical project Tony Scott: A Moving Target in which an analysis of a scene from a Tony Scott film is passed anonymously to the next participant in the project to respond to with an analysis of his or her own.
<- the previous analysis | movement index
(Fill The Screen, Crank The Sound)
***
"We were a serious race. If you want other proof of it, besides our record in war and in politics, you only have to look at our art."
—Henry Adams, Mount Saint Michel and Chartes
***
"The attempt to write a formal rule book for targeted killing began last summer after news reports on the drone program, started under President George W. Bush and expanded by Mr. Obama, revealed some details of the president’s role in the shifting procedures for compiling “kill lists” and approving strikes. Though national security officials insist...
<- the previous analysis | movement index
(Fill The Screen, Crank The Sound)
***
"We were a serious race. If you want other proof of it, besides our record in war and in politics, you only have to look at our art."
—Henry Adams, Mount Saint Michel and Chartes
***
"The attempt to write a formal rule book for targeted killing began last summer after news reports on the drone program, started under President George W. Bush and expanded by Mr. Obama, revealed some details of the president’s role in the shifting procedures for compiling “kill lists” and approving strikes. Though national security officials insist...
- 12/3/2012
- by gina telaroli
- MUBI
Part of the Tony Scott: A Moving Target critical project. Go here for the project's description, index and links to project's other movement.
This is one "movement" of our exquisite corpse-style critical project, Tony Scott: A Moving Target, which coincidentally begins with a look at Crimson Tide, the same movie that begins the other movement. As outlined in the introduction to the entire project, this project began in my mind, as something fairly simple: a snaking continuum of scene analysis. This is only in part what resulted.
The varied responses I got back from my group—"mine" in the sense that it is the one I participated in, since Gina's contribution closes Movement B—seem to say as much about the participating critics as they do about Tony Scott's films and the overlap between the two: the perception of Scott's films and career. Thus many entries, including my own,...
This is one "movement" of our exquisite corpse-style critical project, Tony Scott: A Moving Target, which coincidentally begins with a look at Crimson Tide, the same movie that begins the other movement. As outlined in the introduction to the entire project, this project began in my mind, as something fairly simple: a snaking continuum of scene analysis. This is only in part what resulted.
The varied responses I got back from my group—"mine" in the sense that it is the one I participated in, since Gina's contribution closes Movement B—seem to say as much about the participating critics as they do about Tony Scott's films and the overlap between the two: the perception of Scott's films and career. Thus many entries, including my own,...
- 11/27/2012
- by Daniel Kasman
- MUBI
This article is part of the critical project Tony Scott: A Moving Target in which an analysis of a scene from a Tony Scott film is passed anonymously to the next participant in the project to respond to with an analysis of his or her own.
<- the previous analysis | movement index | the next analysis ->
In the vast majority of auteurist writing on Tony Scott, his hefty, multi-faceted body of work is split misleadingly into three phases: the early “art films” (One of the Missing, Living Memory, L’auteur de Beltraffio, The Hunger), the proficient, sometimes boneheaded spectacle films (Top Gun through to Enemy of the State), and the later, more abstract films (Spy Game onwards). Around about the time of Enemy of the State Scott’s work underwent a famed aesthetic transformation; taking the core ideas of all of his preceding blockbusters and blowing them up into dense, super-edited mutant hailstorms of sound and colour. Today, a...
<- the previous analysis | movement index | the next analysis ->
In the vast majority of auteurist writing on Tony Scott, his hefty, multi-faceted body of work is split misleadingly into three phases: the early “art films” (One of the Missing, Living Memory, L’auteur de Beltraffio, The Hunger), the proficient, sometimes boneheaded spectacle films (Top Gun through to Enemy of the State), and the later, more abstract films (Spy Game onwards). Around about the time of Enemy of the State Scott’s work underwent a famed aesthetic transformation; taking the core ideas of all of his preceding blockbusters and blowing them up into dense, super-edited mutant hailstorms of sound and colour. Today, a...
- 11/27/2012
- by Christopher Small
- MUBI
For some time after Tony Scott tragically, mysteriously took his life earlier this year we tried to think of some way to honor his work and explore it on the Notebook. A proper response was found by filmmaker, editor and Notebook contributor Gina Telaroli, who suggested a kind of critical exquisite corpse, and in this manner forge a way—or an attempt—to fit the forms of Tony Scott's oeuvre to the content critics would contribute.
The project was simple in practice though a bit complicated in explanation: each participant would be restricted to a one week time limit in which he or she would pick a scene from a single Tony Scott film and write an analysis of it before passing that analysis anonymously to the next person in the project. The recipient would be tasked to "respond" to that analysis with a different scene from a different movie,...
The project was simple in practice though a bit complicated in explanation: each participant would be restricted to a one week time limit in which he or she would pick a scene from a single Tony Scott film and write an analysis of it before passing that analysis anonymously to the next person in the project. The recipient would be tasked to "respond" to that analysis with a different scene from a different movie,...
- 11/26/2012
- by Daniel Kasman
- MUBI
This article is part of the critical project Tony Scott: A Moving Target in which an analysis of a scene from a Tony Scott film is passed anonymously to the next participant in the project to respond to with an analysis of his or her own.
<- the previous analysis | movement index | the next analysis ->
The following text should be imagined as an Adam Curtis film that you watch on YouTube...
Black Hole Cinema (Helvetica white on black)
“How British commercials directors conquered Hollywood and ended the reign of story.”
Voice over:
Cinema is a black hole, sucking in the universe. In many ways, it's Wagner's wet dream, a Gesamtkunstwerk combining circus and photography, science and dance, opera and journalism and what not. Every turn the medium took in the past 150 years (let's be generous) was another “acquisition,” be it sound, color or 3D.
[We see images of big city traffic. People lining up for a movie. A star map. Suddenly: A shot of Bayreuth in the dusk. Hitler at Bayreuth, in the audience. Traffic again. People shopping. Leni Riefenstahl dancing and then bound to her editing table, putting together “Olympia”—the reversal of the jump.]
Voice over:
In the 80s, the threat cinema needed to address,...
<- the previous analysis | movement index | the next analysis ->
The following text should be imagined as an Adam Curtis film that you watch on YouTube...
Black Hole Cinema (Helvetica white on black)
“How British commercials directors conquered Hollywood and ended the reign of story.”
Voice over:
Cinema is a black hole, sucking in the universe. In many ways, it's Wagner's wet dream, a Gesamtkunstwerk combining circus and photography, science and dance, opera and journalism and what not. Every turn the medium took in the past 150 years (let's be generous) was another “acquisition,” be it sound, color or 3D.
[We see images of big city traffic. People lining up for a movie. A star map. Suddenly: A shot of Bayreuth in the dusk. Hitler at Bayreuth, in the audience. Traffic again. People shopping. Leni Riefenstahl dancing and then bound to her editing table, putting together “Olympia”—the reversal of the jump.]
Voice over:
In the 80s, the threat cinema needed to address,...
- 11/26/2012
- by Christoph Hochhäusler
- MUBI
This article is part of the critical project Tony Scott: A Moving Target in which an analysis of a scene from a Tony Scott film is passed anonymously to the next participant in the project to respond to with an analysis of his or her own.
<- the previous analysis | movement index | the next analysis ->
The last few years’ critical and cinephilic reappraisal of Tony Scott—what a cynical person might call “the Tony Scott gold rush”—has largely focused on Scott as an artist: his collage editing aesthetic, his playful and expressive use of super-saturated color, his fondness for abstraction.
Scott certainly had some sense of himself as an artist. He was trained as a painter (a little-known fact: Scott animated the logo of Scott Free, the production company he shared his brother Ridley), and his intense work habits hint at a background in art school technique; instead of conventional storyboards, he would—like an oil painter...
<- the previous analysis | movement index | the next analysis ->
The last few years’ critical and cinephilic reappraisal of Tony Scott—what a cynical person might call “the Tony Scott gold rush”—has largely focused on Scott as an artist: his collage editing aesthetic, his playful and expressive use of super-saturated color, his fondness for abstraction.
Scott certainly had some sense of himself as an artist. He was trained as a painter (a little-known fact: Scott animated the logo of Scott Free, the production company he shared his brother Ridley), and his intense work habits hint at a background in art school technique; instead of conventional storyboards, he would—like an oil painter...
- 11/26/2012
- by Ignatiy Vishnevetsky
- MUBI
This article is part of the critical project Tony Scott: A Moving Target in which an analysis of a scene from a Tony Scott film is passed anonymously to the next participant in the project to respond to with an analysis of his or her own.
movement index | the next analysis ->
In front of me is my laptop screen; beyond, outside the windows of the bus I'm traveling on, is the scrolling landscape. Already I'm approaching Tony Scott territory—I just need a crisis to precipitate outside that only my computer could explain. The wifi on the bus is down, however, so I cross my fingers nothing terrible out there will happen. But such an occurrence would be in a later Scott film, the Scott who preposterously, ingeniously included a wifi-connected laptop on a subway car stuck in the New York underground...and let a passenger secretly video...
movement index | the next analysis ->
In front of me is my laptop screen; beyond, outside the windows of the bus I'm traveling on, is the scrolling landscape. Already I'm approaching Tony Scott territory—I just need a crisis to precipitate outside that only my computer could explain. The wifi on the bus is down, however, so I cross my fingers nothing terrible out there will happen. But such an occurrence would be in a later Scott film, the Scott who preposterously, ingeniously included a wifi-connected laptop on a subway car stuck in the New York underground...and let a passenger secretly video...
- 11/26/2012
- by Daniel Kasman
- MUBI
This article is part of the critical project Tony Scott: A Moving Target in which an analysis of a scene from a Tony Scott film is passed anonymously to the next participant in the project to respond to with an analysis of his or her own.
<- the previous analysis | movement index | the next analysis ->
The first time I saw True Romance, I couldn’t see a thing.
I had a window in my bedroom that looked out into the kitchen, and had anybody stopped in for a snack, there at one in the morning, they’d have seen the back fifth of the room bathed in a pulsing pus-green/electro-purple glow, like it was The Hunger all over again and Tony Scott had broken out the gels. All of the colors of the entrails of cable were on my television as I watched pay movies scrambled, solarized ghost images looping and looping—it was how I saw the adult movies,...
<- the previous analysis | movement index | the next analysis ->
The first time I saw True Romance, I couldn’t see a thing.
I had a window in my bedroom that looked out into the kitchen, and had anybody stopped in for a snack, there at one in the morning, they’d have seen the back fifth of the room bathed in a pulsing pus-green/electro-purple glow, like it was The Hunger all over again and Tony Scott had broken out the gels. All of the colors of the entrails of cable were on my television as I watched pay movies scrambled, solarized ghost images looping and looping—it was how I saw the adult movies,...
- 11/26/2012
- by Joe McCulloch
- MUBI
This article is part of the critical project Tony Scott: A Moving Target in which an analysis of a scene from a Tony Scott film is passed anonymously to the next participant in the project to respond to with an analysis of his or her own.
<- the previous analysis | movement index
“Of all the directors I’ve worked with, Tony, he’s the one I enjoyed the most, because working with him, you know that he’ll see everything, so everything can be so much more free, there’s no need to worry about the camera.”
—Edgar Ramirez
I’d like for you to do something for me, it’s just a little exercise in something like organic cinema: close your eyes as tight as you can and look at the colors. That’s all. This might be easier if you find a light and stare at it for a few seconds first,...
<- the previous analysis | movement index
“Of all the directors I’ve worked with, Tony, he’s the one I enjoyed the most, because working with him, you know that he’ll see everything, so everything can be so much more free, there’s no need to worry about the camera.”
—Edgar Ramirez
I’d like for you to do something for me, it’s just a little exercise in something like organic cinema: close your eyes as tight as you can and look at the colors. That’s all. This might be easier if you find a light and stare at it for a few seconds first,...
- 11/26/2012
- by Phil Coldiron
- MUBI
This article is part of the critical project Tony Scott: A Moving Target in which an analysis of a scene from a Tony Scott film is passed anonymously to the next participant in the project to respond to with an analysis of his or her own.
<- the previous analysis | movement index | the next analysis ->
"Visually the film is quite impressive, something like a confetti storm in which the spectator never gets to rest."
–Manny Farber, 1968
Participating in this writing game is a little like being crossed between Robert Bresson’s A Man Escaped (1956) and Jean Genet’s Un chant d’amour (1950). Both prison films, both about Men on Fire. One implicitly gay, the other explicitly so. Alone in my cell, like in Bresson, I am doing my bit to chip my way through to collective freedom and enlightenment. And, meanwhile, I am being presented, like in Genet, with things—all kinds of things—to help me along,...
<- the previous analysis | movement index | the next analysis ->
"Visually the film is quite impressive, something like a confetti storm in which the spectator never gets to rest."
–Manny Farber, 1968
Participating in this writing game is a little like being crossed between Robert Bresson’s A Man Escaped (1956) and Jean Genet’s Un chant d’amour (1950). Both prison films, both about Men on Fire. One implicitly gay, the other explicitly so. Alone in my cell, like in Bresson, I am doing my bit to chip my way through to collective freedom and enlightenment. And, meanwhile, I am being presented, like in Genet, with things—all kinds of things—to help me along,...
- 11/26/2012
- by Adrian Martin
- MUBI
This article is part of the critical project Tony Scott: A Moving Target in which an analysis of a scene from a Tony Scott film is passed anonymously to the next participant in the project to respond to with an analysis of his or her own.
<- the previous analysis | movement index | the next analysis ->
Enemy of the State: center(master)piece of Scott’s filmography, bridging the gap between two bifurcated halves of an oeuvre.
Scott has yet to depart the more conventional—still expressive—style of his earlier work, but technology begins to guide the narrative + aesthetics into the next stage of his cinema.
He anticipates the paranoia and national security anxiety that would heighten dramatically in post-9/11 America. Scott also anticipates his own post-9/11 cinema…
The opening credits, accompanied by Scott’s token stop/start musical score of orchestral rises and electro-rock crescendo bursts, a perfect distillation of late-Scott rapidity and abstraction.
Later: men,...
<- the previous analysis | movement index | the next analysis ->
Enemy of the State: center(master)piece of Scott’s filmography, bridging the gap between two bifurcated halves of an oeuvre.
Scott has yet to depart the more conventional—still expressive—style of his earlier work, but technology begins to guide the narrative + aesthetics into the next stage of his cinema.
He anticipates the paranoia and national security anxiety that would heighten dramatically in post-9/11 America. Scott also anticipates his own post-9/11 cinema…
The opening credits, accompanied by Scott’s token stop/start musical score of orchestral rises and electro-rock crescendo bursts, a perfect distillation of late-Scott rapidity and abstraction.
Later: men,...
- 11/26/2012
- by Adam Cook
- MUBI
This article is part of the critical project Tony Scott: A Moving Target in which an analysis of a scene from a Tony Scott film is passed anonymously to the next participant in the project to respond to with an analysis of his or her own.
<- the previous analysis | movement index | the next analysis ->
Fire, explosions and flares always play their own choreographic role in Tony Scott’s films. A machine gun roars, belching fire, and Scott’s trademark editing obeys the winking of these gunfire flashes. In the breathtaking finale of Domino—perhaps the director’s most personal and definitely most fragile film—the characters go as high as possible: to the 106th floor of a Las Vegas tower, in pursuit of an explosion. As there they are greeted by the mafia: Welcome to the Top of the World.
Why go so high? Domino is devoted to the slightly naïve belief in the invisible hands of fortune,...
<- the previous analysis | movement index | the next analysis ->
Fire, explosions and flares always play their own choreographic role in Tony Scott’s films. A machine gun roars, belching fire, and Scott’s trademark editing obeys the winking of these gunfire flashes. In the breathtaking finale of Domino—perhaps the director’s most personal and definitely most fragile film—the characters go as high as possible: to the 106th floor of a Las Vegas tower, in pursuit of an explosion. As there they are greeted by the mafia: Welcome to the Top of the World.
Why go so high? Domino is devoted to the slightly naïve belief in the invisible hands of fortune,...
- 11/26/2012
- by Boris Nelepo
- MUBI
This article is part of the critical project Tony Scott: A Moving Target in which an analysis of a scene from a Tony Scott film is passed anonymously to the next participant in the project to respond to with an analysis of his or her own.
<- the previous analysis | movement index | the next analysis ->
The dizzying shootout/kidnapping in Man on Fire comes a full 50 minutes into the 146-minute movie. Up until then, Tony Scott has offered little but extended set-up: depressed, alcoholic former CIA operative Creasy (Denzel Washington) heads to Mexico and takes a gig as bodyguard for a rich couple's young daughter Pita (Dakota Fanning). Creasy learns the ins and outs of Pita's daily schedule of piano lessons and swim practice over several scenes, which Scott methodically covers in unfussy, stylistically sober fashion, focusing on performance, character detail, and milieu. When Pita is snatched under Creasy's watch, the character and the film erupt: Creasy and...
<- the previous analysis | movement index | the next analysis ->
The dizzying shootout/kidnapping in Man on Fire comes a full 50 minutes into the 146-minute movie. Up until then, Tony Scott has offered little but extended set-up: depressed, alcoholic former CIA operative Creasy (Denzel Washington) heads to Mexico and takes a gig as bodyguard for a rich couple's young daughter Pita (Dakota Fanning). Creasy learns the ins and outs of Pita's daily schedule of piano lessons and swim practice over several scenes, which Scott methodically covers in unfussy, stylistically sober fashion, focusing on performance, character detail, and milieu. When Pita is snatched under Creasy's watch, the character and the film erupt: Creasy and...
- 11/26/2012
- by C. Mason Wells
- MUBI
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