Movies are expensive to make. The average feature-length film costs around $65 million. To offset that cost, many studios turn to product placement. They approach corporations and offer to show their products on screen in exchange for a financial contribution. Many times, studios incorporate this seamlessly. James rolls into Q branch and gets a full rundown of the newest automobile from BMW or Aston Martin, and audiences barely notice that they just sat through a car commercial. Most people still don’t understand that the Reese’s Pieces scene in E.T. was part of a product placement agreement. Other times, it’s not quite as
The Best Product Placement Jokes in Movies...
The Best Product Placement Jokes in Movies...
- 12/5/2017
- by Nathaniel Fitzgerald
- TVovermind.com
Movies are expensive to make. The average feature-length film costs around $65 million. To offset that cost, many studios turn to product placement. They approach corporations and offer to show their products on screen in exchange for a financial contribution. Many times, studios incorporate this seamlessly. James rolls into Q branch and gets a full rundown of the newest automobile from BMW or Aston Martin, and audiences barely notice that they just sat through a car commercial. Most people still don’t understand that the Reese’s Pieces scene in E.T. was part of a product placement agreement. Other times, it’s not quite as graceful. The
The Best Product Placement Jokes Ever...
The Best Product Placement Jokes Ever...
- 12/2/2017
- by Nathaniel Fitzgerald
- TVovermind.com
“Okja” is just days away from premiering on Netflix, and with it comes another brilliant Bong Joon Ho movie full of memorable characters and such carefully handled tonal changes that you have no choice but to be entertained.
Read More: ‘Okja’ Review: Bong Joon Ho Delivers His ‘E.T.’ With Delightful Tale of a Mutant Pig and the Girl Who Loves Her
Director Bong Joon Ho’s desire to work with the most talented actors and craftspeople in their respective fields resulted in a global production that brought together a diverse pool of talent both in front of and behind the camera. Shot across several countries, oceans apart, Director Bong united cultures with his singular vision: a story of love and friendship that is truly universal.
In the featurette, the cast and filmmakers of “Okja” describe how they transcended borders to bring their story to the screen. Watch never-before-seen interviews with stars Tilda Swinton,...
Read More: ‘Okja’ Review: Bong Joon Ho Delivers His ‘E.T.’ With Delightful Tale of a Mutant Pig and the Girl Who Loves Her
Director Bong Joon Ho’s desire to work with the most talented actors and craftspeople in their respective fields resulted in a global production that brought together a diverse pool of talent both in front of and behind the camera. Shot across several countries, oceans apart, Director Bong united cultures with his singular vision: a story of love and friendship that is truly universal.
In the featurette, the cast and filmmakers of “Okja” describe how they transcended borders to bring their story to the screen. Watch never-before-seen interviews with stars Tilda Swinton,...
- 6/26/2017
- by Zack Sharf
- Indiewire
Rival studios gave “Transformers: The Last Knight” a wide berth, not that it was necessary. While that assured its entry at #1, it set the wrong kind of record as the lowest-opening entry in Paramount’s “Transformers” franchise. A Wednesday opening camouflages the size of its weekend drop, and while its worldwide haul stands at just under $200 million, once again domestic theaters are the major losers.
There’s scattered good news, including another strong hold for “Wonder Woman,” but this was another down weekend led by another lackluster sequel.
Read More: Studios Are Right: Rotten Tomatoes Has Ruined Film Criticism — Opinion
Next weekend should change the tone with “Despicable Me 3” (Universal) primed for a possible $100 million opening, with Edgar Wright’s “Baby Driver” (Sony) and the Will Ferrell/Amy Poehler comedy “The House” adding to the potential. The need for a gamechanger keeps getting bigger.
The Top Ten
1. Transformers: The Last Knight...
There’s scattered good news, including another strong hold for “Wonder Woman,” but this was another down weekend led by another lackluster sequel.
Read More: Studios Are Right: Rotten Tomatoes Has Ruined Film Criticism — Opinion
Next weekend should change the tone with “Despicable Me 3” (Universal) primed for a possible $100 million opening, with Edgar Wright’s “Baby Driver” (Sony) and the Will Ferrell/Amy Poehler comedy “The House” adding to the potential. The need for a gamechanger keeps getting bigger.
The Top Ten
1. Transformers: The Last Knight...
- 6/25/2017
- by Tom Brueggemann
- Indiewire
Where is Shia? Why is Stanley Tucci playing Merlin? Is that a robot butler voiced by Mr. Carson from “Downton Abbey”?
These are just some of the questions that come to mind while watching “Transformers: The Last Knight,” the fifth entry in Michael Bay’s billion-dollar franchise based on a line of toys, and the first one I’ve seen. These thoughts occur to me half-formed, which is fitting since that’s also how the plot seems to have been dreamed up by the film’s three credited screenwriters.
Read More: ‘Transformers: The Last Knight’ Review: Here’s the Most Ridiculous Hollywood Movie of the Year
Beginning in the very specific time and place “England — the Dark Ages,” the film seems eager to capitalize on the current medieval trend most recently exploited to great success by the King Arthur movie that nobody saw. What’s past is prologue, and so...
These are just some of the questions that come to mind while watching “Transformers: The Last Knight,” the fifth entry in Michael Bay’s billion-dollar franchise based on a line of toys, and the first one I’ve seen. These thoughts occur to me half-formed, which is fitting since that’s also how the plot seems to have been dreamed up by the film’s three credited screenwriters.
Read More: ‘Transformers: The Last Knight’ Review: Here’s the Most Ridiculous Hollywood Movie of the Year
Beginning in the very specific time and place “England — the Dark Ages,” the film seems eager to capitalize on the current medieval trend most recently exploited to great success by the King Arthur movie that nobody saw. What’s past is prologue, and so...
- 6/23/2017
- by Michael Nordine
- Indiewire
You’re going to need to sit down for this one.
The supercut geniuses over at ScreenCrush have debuted their latest compilation, “Every Single Product Placement in the Films of Michael Bay,” and it’s 11 minutes of non-stop Bayhem that proves this madman never met an action scene, dialogue scene or establishing shot he couldn’t cram product placement into.
Read More: ‘Transformers: The Last Knight’ Review: Here’s the Most Ridiculous Hollywood Movie of the Year
The video arrives on the opening weekend of Bay’s latest CGI extravaganza, “Transformers: The Last Knight.” Critics have already hailed the film as the most ridiculous movie of the year, and because this latest outing is not included in the video below, it’s safe to say the product placement total has most likely skyrocketed above 600.
For now, you can watch all 555 instances of Michael Bay product placement in the video below.
The supercut geniuses over at ScreenCrush have debuted their latest compilation, “Every Single Product Placement in the Films of Michael Bay,” and it’s 11 minutes of non-stop Bayhem that proves this madman never met an action scene, dialogue scene or establishing shot he couldn’t cram product placement into.
Read More: ‘Transformers: The Last Knight’ Review: Here’s the Most Ridiculous Hollywood Movie of the Year
The video arrives on the opening weekend of Bay’s latest CGI extravaganza, “Transformers: The Last Knight.” Critics have already hailed the film as the most ridiculous movie of the year, and because this latest outing is not included in the video below, it’s safe to say the product placement total has most likely skyrocketed above 600.
For now, you can watch all 555 instances of Michael Bay product placement in the video below.
- 6/23/2017
- by Zack Sharf
- Indiewire
Kogonada is one of the most well known video essayists on the internet, but he’s about to become one of the best new voices in indie film. “Columbus,” which premiered to acclaim at the Sundance Film Festival earlier this year, is a hypnotic and intimate debut that’s bound to leave an impression on anyone who sees it.
Read More: Supercut Guru Kogonada: How He Leapt from Small Screens to Sundance Next with the Mysterious ‘Columbus’
Kogonada’s debut stars John Cho as Jin, a man who finds himself stranded in the titular Indiana town after his father falls gravely ill. It’s here where he strikes up a friendship with an architectural enthusiast (Haley Lu Richardson) struggling with her own parental issues. The pair spark a connection rooted in soul-searching.
Entertainment Weekly has debuted the official trailer for the movie, and to say it looks visually striking would be the understatement of the year. Working with cinematographer Elisha Christian, Kogonada draws your attention to architecture and blocking like a master filmmaker.
“Columbus” opens in select theaters August 4. Watch the trailer below.
Related storiesHere Are The 555 Times Michael Bay Has Used Product Placement -- Watch'The Untamed': Amat Escalante's Insane Alien-Centric Erotic Horror Film Gets a Wild New Trailer -- Watch'Person to Person' Trailer: Michael Cera Stars In A Summer Indie That Evokes the Best of Woody Allen...
Read More: Supercut Guru Kogonada: How He Leapt from Small Screens to Sundance Next with the Mysterious ‘Columbus’
Kogonada’s debut stars John Cho as Jin, a man who finds himself stranded in the titular Indiana town after his father falls gravely ill. It’s here where he strikes up a friendship with an architectural enthusiast (Haley Lu Richardson) struggling with her own parental issues. The pair spark a connection rooted in soul-searching.
Entertainment Weekly has debuted the official trailer for the movie, and to say it looks visually striking would be the understatement of the year. Working with cinematographer Elisha Christian, Kogonada draws your attention to architecture and blocking like a master filmmaker.
“Columbus” opens in select theaters August 4. Watch the trailer below.
Related storiesHere Are The 555 Times Michael Bay Has Used Product Placement -- Watch'The Untamed': Amat Escalante's Insane Alien-Centric Erotic Horror Film Gets a Wild New Trailer -- Watch'Person to Person' Trailer: Michael Cera Stars In A Summer Indie That Evokes the Best of Woody Allen...
- 6/23/2017
- by Zack Sharf
- Indiewire
The last few weeks have been a coronation for Rotten Tomatoes, the 19-year-old review aggregation site owned by Fandango. Faced with would-be blockbusters that received a collective shrug from the audience, studios have been shaking their fists at what they view as Rt’s undeserved and unchecked power. The latest would-be victim is Paramount’s “Transformers: The Last Knight,” which sits at a 16% Rt rating and current estimates have the film’s five-day opening weekend at $60 million domestic — a record-breaking low for a franchise that’s accustomed to $100 million or more.
However, Rt’s corporate parents must be thrilled: They own a property that’s poised to replace the star system and has already become the shorthand for critical response. No wonder it engenders fear and loathing from Hollywood’s most powerful players.
And in the six and a half years I’ve reported box office analysis, my policy has remained unchanged: I don’t mention them. I have no issue with review aggregation, but I do have serious objections to their methodology, their degradation of the critical process, and how they communicate their ratings. Those aren’t the same reasons that studios (occasionally) might wish them dead, but the studios and I are united in our belief that Rotten Tomatoes is a negative force for film.
When the site launched in 1998, the concept of reducing reviews to positive/negative was already familiar. Gene Siskel and Roger Ebert began using the system as part of their popular TV partnership that began in 1975 on a local Chicago station and eventually went nationwide with the Disney-syndicated “Siskel & Ebert.” Of course, the centerpiece of their show wasn’t their thumbs; it was the passionate discussion that preceded their up/down judgments.
Siskel and Ebert were part of a critical continuum that presumed readers came with their own intellectual curiosities about the work being discussed. Today, that’s turned on its head as the overwhelming majority of movie reviews used by readers as a simple buying guide — and with the audience rallying cry of “no spoilers,” the less said about the movie, the better.
Rotten Tomatoes has taken that proposition to its most reductive point, providing only two understandings of a film (three, if you count the “certified fresh” subset). There’s no allowance for isolating a strong performance, or for recognizing a strong element within a flawed film. It reduces criticism to judgment and attitude without discernment.
The methodology tips toward the negative, with films requiring 60 percent or more positive reviews to avoid being labeled “rotten.” The site’s name comes from the legend that in the 19th century, rowdy theater and music-hall crowds would show disfavor by throwing spoiled vegetables at the stage. It reflects an attitude of cheering for failure — a film isn’t good or bad, but “rotten” or “fresh” depending on the percentage of unfavorable to favorable reviews. And there’s an audience for negativity.
Read More: Rotten Tomatoes Is ‘The Destruction of Our Business,’ Says Producer/Director Brett Ratner
Rt includes reviews from hundreds of critics, with print and broadcast critics requiring two years of employment as a critic at an approved outlet; online critics need a minimum of 100 reviews over two years at a single publication that receives at least 500,000 visitors a month. While those are valid standards, it also includes an array of reviewers with limited audiences and variable expertise. The internet age created an explosion of people writing about movies, often without journalistic or cinematic education. But on Rt, all opinions are created equal. (There is a “Top Critics” subsection, although it receives little attention in media or the films’ marketing.)
Next page: Why Rotten Tomatoes may have destroyed 50% of the “Transformers” franchise value.
Related storiesHere Are The 555 Times Michael Bay Has Used Product Placement -- Watch'Transformers: The Last Knight': How Michael Bay and Ilm Created Complex New Medieval Bots'Transformers: The Last Knight' Review: Here's the Most Ridiculous Hollywood Movie of the Year...
However, Rt’s corporate parents must be thrilled: They own a property that’s poised to replace the star system and has already become the shorthand for critical response. No wonder it engenders fear and loathing from Hollywood’s most powerful players.
And in the six and a half years I’ve reported box office analysis, my policy has remained unchanged: I don’t mention them. I have no issue with review aggregation, but I do have serious objections to their methodology, their degradation of the critical process, and how they communicate their ratings. Those aren’t the same reasons that studios (occasionally) might wish them dead, but the studios and I are united in our belief that Rotten Tomatoes is a negative force for film.
When the site launched in 1998, the concept of reducing reviews to positive/negative was already familiar. Gene Siskel and Roger Ebert began using the system as part of their popular TV partnership that began in 1975 on a local Chicago station and eventually went nationwide with the Disney-syndicated “Siskel & Ebert.” Of course, the centerpiece of their show wasn’t their thumbs; it was the passionate discussion that preceded their up/down judgments.
Siskel and Ebert were part of a critical continuum that presumed readers came with their own intellectual curiosities about the work being discussed. Today, that’s turned on its head as the overwhelming majority of movie reviews used by readers as a simple buying guide — and with the audience rallying cry of “no spoilers,” the less said about the movie, the better.
Rotten Tomatoes has taken that proposition to its most reductive point, providing only two understandings of a film (three, if you count the “certified fresh” subset). There’s no allowance for isolating a strong performance, or for recognizing a strong element within a flawed film. It reduces criticism to judgment and attitude without discernment.
The methodology tips toward the negative, with films requiring 60 percent or more positive reviews to avoid being labeled “rotten.” The site’s name comes from the legend that in the 19th century, rowdy theater and music-hall crowds would show disfavor by throwing spoiled vegetables at the stage. It reflects an attitude of cheering for failure — a film isn’t good or bad, but “rotten” or “fresh” depending on the percentage of unfavorable to favorable reviews. And there’s an audience for negativity.
Read More: Rotten Tomatoes Is ‘The Destruction of Our Business,’ Says Producer/Director Brett Ratner
Rt includes reviews from hundreds of critics, with print and broadcast critics requiring two years of employment as a critic at an approved outlet; online critics need a minimum of 100 reviews over two years at a single publication that receives at least 500,000 visitors a month. While those are valid standards, it also includes an array of reviewers with limited audiences and variable expertise. The internet age created an explosion of people writing about movies, often without journalistic or cinematic education. But on Rt, all opinions are created equal. (There is a “Top Critics” subsection, although it receives little attention in media or the films’ marketing.)
Next page: Why Rotten Tomatoes may have destroyed 50% of the “Transformers” franchise value.
Related storiesHere Are The 555 Times Michael Bay Has Used Product Placement -- Watch'Transformers: The Last Knight': How Michael Bay and Ilm Created Complex New Medieval Bots'Transformers: The Last Knight' Review: Here's the Most Ridiculous Hollywood Movie of the Year...
- 6/23/2017
- by Tom Brueggemann
- Indiewire
“Untamed” is an appropriate description of Amat Escalante’s latest film, which uses a relatively benign plotline — an unhappy couple have secrets to spare, and then a compelling newcomer arrives in their town — to frame up one of the most wild films of the year.
“The Untamed” follows married couple Alejandra and Angel, who are struggling to connect thanks to both petty domestic squabbles and a massive mystery that could upend not just their relationship, but their entire family and their provincial city. When the mysterious Veronica arrives and befriends Alejandra’s brother Fabian, she introduces some unexpected new elements into everyone’s lives, and no one will be the same. Sounds standard, right? Hardly.
Read More: 10 Great Erotic Thrillers to Stream on Netflix and Amazon Prime Right Now
Soon, Veronica and her new acquaintances are trotting off into the nearby woods — where, not to worry, a meteorite has recently landed — to meet a mysterious creature that offers up both pleasure (yes, that kind) and pain to the various people who come to interact with it, including Alejandra, Angel, and Fabian. Part horror story, part sci-fi outing, and part “wait, what the hell is that thing?,” the film deftly blends relatable problems with some very out of the box solutions.
The film was a hit on the festival circuit, where it earned Escalante accolades at events as diverse as Fantastic Fest (so you know it’s insane) and Venice (where the director won the Silver Lion and was nominated for both the Golden Lion and the Queer Lion), and it’s now bound for a limited release, all the better to hit more audiences right in the ol’ shock and awe.
Put it this way: you’re guaranteed to gasp at least once — a big one, borne of shock and maybe fear — during this trailer, and this is just two minutes of the entire film. Check it out below, and prepare yourself.
“The Untamed” will hit limited release on Friday, July 21.
Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
Related storiesHere Are The 555 Times Michael Bay Has Used Product Placement -- Watch'Columbus' Trailer: Discover Why This John Cho Drama Is One of the Great Indie Debuts of 2017'Person to Person' Trailer: Michael Cera Stars In A Summer Indie That Evokes the Best of Woody Allen...
“The Untamed” follows married couple Alejandra and Angel, who are struggling to connect thanks to both petty domestic squabbles and a massive mystery that could upend not just their relationship, but their entire family and their provincial city. When the mysterious Veronica arrives and befriends Alejandra’s brother Fabian, she introduces some unexpected new elements into everyone’s lives, and no one will be the same. Sounds standard, right? Hardly.
Read More: 10 Great Erotic Thrillers to Stream on Netflix and Amazon Prime Right Now
Soon, Veronica and her new acquaintances are trotting off into the nearby woods — where, not to worry, a meteorite has recently landed — to meet a mysterious creature that offers up both pleasure (yes, that kind) and pain to the various people who come to interact with it, including Alejandra, Angel, and Fabian. Part horror story, part sci-fi outing, and part “wait, what the hell is that thing?,” the film deftly blends relatable problems with some very out of the box solutions.
The film was a hit on the festival circuit, where it earned Escalante accolades at events as diverse as Fantastic Fest (so you know it’s insane) and Venice (where the director won the Silver Lion and was nominated for both the Golden Lion and the Queer Lion), and it’s now bound for a limited release, all the better to hit more audiences right in the ol’ shock and awe.
Put it this way: you’re guaranteed to gasp at least once — a big one, borne of shock and maybe fear — during this trailer, and this is just two minutes of the entire film. Check it out below, and prepare yourself.
“The Untamed” will hit limited release on Friday, July 21.
Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
Related storiesHere Are The 555 Times Michael Bay Has Used Product Placement -- Watch'Columbus' Trailer: Discover Why This John Cho Drama Is One of the Great Indie Debuts of 2017'Person to Person' Trailer: Michael Cera Stars In A Summer Indie That Evokes the Best of Woody Allen...
- 6/23/2017
- by Kate Erbland
- Indiewire
Product placement in films is a multi billion dollar industry. The lengths companies go and the money they spend to be part of major motion films is a humongous part of their marketing planets. Whether it’s a subliminal placement like seeing a box of Cheerios on the table or something really obvious like a character getting into a car and the camera panning to the dashboard where it light’s up and says “Ford,” there’s a very high probability that in most big budget films you see, there will be some kind of product placement. However, the placement you’ll see in
The Real Reason That Reese’s Pieces Were Used in the Movie E.T.: The Extra Terrestrial...
The Real Reason That Reese’s Pieces Were Used in the Movie E.T.: The Extra Terrestrial...
- 6/5/2017
- by Nat Berman
- TVovermind.com
With the return of Twin Peaks not only is the new show getting tons of attention but it’s been a hell of a weekend for nostalgia. Showtime ran every episode of David Lynch’s hit but short lived show in the 90s over the weekend. If you haven’t seen this show then you will have a newfound respect for how awesome Kyle Maclachlan is. His portrayal of Agent Cooper is flat out awesome and so weird that you have to laugh, cry, cringe, smile, you name it. If anything this weekend’s brought about so many great memories of the past, not
That Time David Lynch Gave his Opinion on Product Placement...
That Time David Lynch Gave his Opinion on Product Placement...
- 5/22/2017
- by Nat Berman
- TVovermind.com
I’m not going to lie. I’m a little disappointed in both Ford and Designated Survivor for what was one of the worst product placements in a show I’ve seen all year. Designated Survivor has been pretty solid in the ratings department lately but I’m not sure that gives Fox or whoever greenlighted this spot the right to put in ads that might as well be equivalent to that scene in Wayne’s World where Mike Meyers and Dana Carvey are making a parody of advertising and selling out in films. Remember this? While I’m not saying it was that obvious, it
Designated Survivor Had a Super Cringy Ford Product Placement Last Night...
Designated Survivor Had a Super Cringy Ford Product Placement Last Night...
- 4/28/2017
- by Nat Berman
- TVovermind.com
Simon Brew Mar 13, 2017
Die Hard 2 was a box office hit - but it was taken to court for damaging Black & Decker's credibility...
Product placement in movies underwent a bit of a transformation following the infamous case of Coca-Cola and Natural Born Killers. I’ve written about that in more detail here.
In the early 1990s, it was nowhere near the polished industry we know it as today. The one where a blockbuster film can routinely come with 100 or so commercial tie-ins, and where branded products are shunted in front of our eyes, as if the local Odeon has just switched QVC on for a second.
Back when 20th Century Fox pressed ahead with Die Hard 2: Die Harder, it knew it had to find a hefty budget. Producer Joel Silver’s films were at the stage where they were blowing through heavier amounts of cash to bring spectacle to the screen,...
Die Hard 2 was a box office hit - but it was taken to court for damaging Black & Decker's credibility...
Product placement in movies underwent a bit of a transformation following the infamous case of Coca-Cola and Natural Born Killers. I’ve written about that in more detail here.
In the early 1990s, it was nowhere near the polished industry we know it as today. The one where a blockbuster film can routinely come with 100 or so commercial tie-ins, and where branded products are shunted in front of our eyes, as if the local Odeon has just switched QVC on for a second.
Back when 20th Century Fox pressed ahead with Die Hard 2: Die Harder, it knew it had to find a hefty budget. Producer Joel Silver’s films were at the stage where they were blowing through heavier amounts of cash to bring spectacle to the screen,...
- 3/10/2017
- Den of Geek
Product placement at the Oscars was prominent this year than in recent memory, and it wasn’t just the Junior Mints raining from the sky. The commercials airing during the ABC broadcast notably saw the Academy teaming with Rolex for a spot that “celebrated cinema” by crudely dropping the watch in a bunch of classic films. But perhaps even more questionable was the alignment with Walmart.
Read More: The Best & The Worst Of The 2017 Oscars
“Behind Every Receipt, There’s A Great Story” went the campaign that saw Antoine Fuqua, Marc Forster, and Seth Rogen & Evan Goldberg team up for a trio of short films, all inspired by a receipt from the store containing bananas, batteries, paper towels, a scooter, wrapping paper, and video baby monitor.
Continue reading Oscars 2017: Antoine Fuqua, Marc Forster And Seth Rogen & Evan Goldberg Direct Walmart Sponsored Short Films at The Playlist.
Read More: The Best & The Worst Of The 2017 Oscars
“Behind Every Receipt, There’s A Great Story” went the campaign that saw Antoine Fuqua, Marc Forster, and Seth Rogen & Evan Goldberg team up for a trio of short films, all inspired by a receipt from the store containing bananas, batteries, paper towels, a scooter, wrapping paper, and video baby monitor.
Continue reading Oscars 2017: Antoine Fuqua, Marc Forster And Seth Rogen & Evan Goldberg Direct Walmart Sponsored Short Films at The Playlist.
- 2/27/2017
- by Kevin Jagernauth
- The Playlist
This article originally appeared on MyRecipes.
By Hannah Burkhalter
Everybody’s gotta eat.
Which is why it’s super frustrating when you accidently kill your paycheck with what you thought was a casual grocery run… you know, just to pick up those few things to get you through the rest of the week. Maybe it was that extra bottle of wine you threw in. Or maybe it was that fancy “superfood” granola you decided to spring for. Either way, you’re in the hole.
Rest assured, there is a better way to shop, it just might require a little bit...
By Hannah Burkhalter
Everybody’s gotta eat.
Which is why it’s super frustrating when you accidently kill your paycheck with what you thought was a casual grocery run… you know, just to pick up those few things to get you through the rest of the week. Maybe it was that extra bottle of wine you threw in. Or maybe it was that fancy “superfood” granola you decided to spring for. Either way, you’re in the hole.
Rest assured, there is a better way to shop, it just might require a little bit...
- 1/10/2017
- by Shay Spence
- PEOPLE.com
Product placement is inevitable, and there’s a right way to do it. The right way makes it subtle, and though you see logos on cars or Dell computers it feels logical to what’s going on in the scene. Then there are movies like Transformers: Age Of Extinction that literally throw cans of Bud Light and Red Bull in your face as if to say “The robots are coming, so I better get jacked... Read More...
- 10/25/2016
- by Matt Rooney
- JoBlo.com
Adam Sandler films are notorious for the most ridiculous product placement scenes. These crazy product placements are probably the only reason he gets to keep making movies! The YouTube channel Laser Time has created a video supercut that pays tribute to all of the product placement in these films. It’s called Adam Sandler Loves Food! - A Tribute to Product Placement. It’s like each scene with a product is a commercial within the movie.
- 9/18/2016
- by Joey Paur
- GeekTyrant
On the surface, “The Do-Over,” the second film in Adam Sandler’s four-picture deal with Netflix, looks more agreeable than his last, “The Ridiculous Six.” The running time is a reasonable 108 minutes, opposed to the two-hour comedy mammoth that came out in December. It’s a buddy action comedy, the actor-producer didn’t write it, less Sandler […]
The post Adam Sandler’s ‘The Do-Over’ Is The Unfunny, Product Placement Filled Comedy You’ve Come To Expect: Review appeared first on The Playlist.
The post Adam Sandler’s ‘The Do-Over’ Is The Unfunny, Product Placement Filled Comedy You’ve Come To Expect: Review appeared first on The Playlist.
- 5/27/2016
- by Will Ashton
- The Playlist
What does Captain America: Civil War star Sebastian Stan think of Batman v Superman? What villain does Kevin Smith want to bring to Arrow if he gets to write an episode for the show? How did Chinese product placement create a bit of a plot hole in Captain America: Civil War? All that and more […]
The post Superhero Bits: Product Placement Creates Civil War Plot Hole, Sebastian Stan on Batman v Superman & More appeared first on /Film.
The post Superhero Bits: Product Placement Creates Civil War Plot Hole, Sebastian Stan on Batman v Superman & More appeared first on /Film.
- 5/12/2016
- by Ethan Anderton
- Slash Film
Blac Chyna is fairly new to the scene, but experts say now that's she's poised to be Mrs. Kardashian, she has serious earning potential. Here's how she's doing it. EmojisEarning potential: $2 million in one dayChyna's friend Amber Rose netted millions when she launched her collection. An industry source tells People that an emoji line can net up to $6 million in a matter of days. The day Kim Kardashian West launched her line, she was reportedly grossing over $1 million per minute, according to Fortune. Have you guys downloaded Chymoji @chymojii ? #chymoji A photo posted by Blac Chyna (@blacchyna) on May 10, 2016 at...
- 5/11/2016
- by Brittany King, @brrriitttnnii
- PEOPLE.com
Blac Chyna is fairly new to the scene, but experts say now that's she's poised to be Mrs. Kardashian, she has serious earning potential. Here's how she's doing it.
EmojisEarning potential: $2 million in one day
Chyna's friend Amber Rose netted millions when she launched her collection. An industry source tells People that an emoji line can net up to $6 million in a matter of days. The day Kim Kardashian West launched her line, she was reportedly grossing over $1 million per minute, according to Fortune.
Have you guys downloaded Chymoji @chymojii ? #chymoji
A photo posted by Blac Chyna (@blacchyna) on May...
EmojisEarning potential: $2 million in one day
Chyna's friend Amber Rose netted millions when she launched her collection. An industry source tells People that an emoji line can net up to $6 million in a matter of days. The day Kim Kardashian West launched her line, she was reportedly grossing over $1 million per minute, according to Fortune.
Have you guys downloaded Chymoji @chymojii ? #chymoji
A photo posted by Blac Chyna (@blacchyna) on May...
- 5/11/2016
- by Brittany King, @brrriitttnnii
- People.com - TV Watch
Product placement in movies isn't anything new, but the more obvious ones are definitely distracting, and can make you feel like you're watching a commercial. For our latest Exclusive Cool Video, we've ranked the Top 10 examples of product placement in cinema and, in case you were wondering, yes, a couple of Michael Bay flicks did make the list. Personally I have nothing against a... Read More...
- 5/5/2016
- by Jesse Giroux
- JoBlo.com
Product placement is a tried and true method for building a brand’s awareness among an audience. The movie makes money to help offset the costs of filming, long before any box office dollars come in, and the brand in question gets noticed by millions of people, and most of the time it’s not ridiculously blatant, so it doesn’t have a great impact on the audience's enjoyment of the movie. It’s a win-win for everybody involved. Unfortunately, the most recent Transformers film did not have a perfectly smooth experience regarding its product placement. It appears they forgot to put some into the film and now they’re being sued for $27.7 million. While the lawsuit was filed back in 2014, it is only being heard in the Chinese court system now. According to the complaint, Wulong Karst Tourism, a state-owned tourism company in ...
- 4/27/2016
- cinemablend.com
Product placement has become a necessity of blockbusters but they can be done right. If you're looking for an example of how to do it wrong, look at Transformers: Age of Extinction and Man of Steel. They're in your face, obvious, and oddly out of place with the plot. Smokydogy didn't do a video about Man of Steel, but I'll never let that ridiculous Ihop scene go...Even If Their Pancakes Are Delicious!
Take a look at some of Transformers 4's worst (and that's saying something) moments below.
Take a look at some of Transformers 4's worst (and that's saying something) moments below.
- 4/27/2016
- by Mick Joest
- GeekTyrant
When it comes to your face, there's no Paint-by-Numbers telling you where each product should go. You can watch as many YouTube tutorials as you'd like on bronzer application, but how do you know the information you're getting is valid? Enter, celebrity makeup artist Suzie Kim. You'll be a next-level bronzed goddess like Rosie Hungtington-Whiteley in no time. All Bronzer Everything: "Bronzer is my favorite product to use," noted Suzie, "[because it] adds a natural dimension to the face. After you even out the face with the right shade of foundation and/or concealer, it can look really flat" and no one wants that. Product Placement: The expert adds, "I use bronzer on the hollows of...
- 3/29/2016
- E! Online
The International Film Festival in Guadalajara (FICG31) celebrated its 31th anniversary this year and moved to the center of town, a move toward regaining its early luster within the galaxy of younger festivals now competing for resources in México. With its myriad of activities beyond the mere programming of films, its mentoring other festivals such as Puerto Vallarta and Oaxaca, I would give it two thumbs up.
On Friday, March 11, it announced its awards and officially announced next year’s Guest of Honor, Germany, closing with the German film, Doris Dörrie’s “Fukushima Mon Amour” (Isa: The Match Factory). This film is a deeply moving homage to the spirit of humanity, recovery and love as a German clown, played by Rosalie Thomass and her clown partners, the wonderful Moshe Cohen of San Francisco and Nami Kamata, visit the people remaining at the devastated town of Fukushima and Rosalie bonds with the last geisha of Fukushima played by the beautiful Aya Irizuki. It premiered at the Panorama of the Berlinale where Doris won the C.I.C.A.E. Award and the Heiner Carow Prize.
Official Competition Winners FICG31
Mezcal Award for Best Mexican Film to “Maquinaria Panamericana”/ “Panamerican Machinery”
Mezcal jury
The jury consists of 30 students from related fields from universities or major schools of Mexico, Latin American, Europe and Canada. Serving as a sort of tutor, Jose Ramon Mikelajauregui, Director of Dis was responsible for the academic program held at FICG31.
The Mezcal Award consisting of 500,000 Mexican pesos went to the director, Joaquín del Paso for “Maquinaria Panamericana”/ “Panamerican Machinery”, a portrait of an inefficient factory on the edge of Mexico City where the workers lock themselves in when the owner is found dead in the back of the warehouse and they discover he has been bankrolling the wages out of his own pocket for years.
A coproduction of Mantarraya Producciones, it also won the Fipresci Prize at its premiere in the Forum of the Berlinale. International sales agent (Isa) is the new Paris-based sales and co-production company Luxbox whose
co-ceo Fiorella Moretti was formerly head of sales at Ndm, the Mexico City-based sales company she set up with director Carlos Reygadas and producer Jaime Romandia of Mantarraya Productions in 2012 to sell “Post Tenebras Lux”.
Co-ceo Hédi Zardi previously worked in sales for Fortissimo and went on to Unifrance, the French cinema promotions agency and then to the PR and events company Le Public Systeme, where he was in charge of industry initiatives at Marrakesh and Deauville festivals.
The pair got to know one another through Gabriel Ripstein’s “600 Miles”, winner of the best first feature last year at the Berlinale, which Zardi associate produced and Moretti sold.
Special Mention went to “Margarita” directed by Bruno Santamaría Razo
Infinitum Aaward Grante dby the Public, consisting of 150,000 pesos, went to " El Charro de Toluquilla" (Isa: Imcine) by José Villalobos Romero, a doc about mariachi singer Jaime Garcia Dominguez who became fascinated by the recklessness and ladies´ man lifestyle of the classic Mexican movie characters with one difference: he´s got HIV. Jaime faces an inner maturing process as he decides between keeping this lifestyle or becoming a family man. It also won the award for Best Iberoamerican Documentary of 150,000 Mexican pesos or its equivalent in dollars to the director.
Best Latin American Fiction Film consisting of 250,000 Mexican pesos or its equivalent in dollars went to the production company of Felipe Guerrero’s film “ Oscuro animal”, about three women forced to flee their homes in a war torn region in Colombia. The film also won Best Actress Award (s) for Marleyda Soto, Luisa Galiano and Jocelyn Vides Meneses and Best Photography Award to Fernando Lockett.
A coproduction of Argentina, Greece, Netherlands, Germany and Colombia, it is being sold internationally by FiGa. It previously played in the Rotterdam Film Festival’s Tiger Competition and Ficci Cartagena 2016’s Official Dramatic Competition. At the Berlinale’s Efm 2016 it was part of the World Cinema Fund’s First Look section. Financing for the film came from Colombia’s Proimágenes, Argentina’s Incaa, Netherlands’ Hubert Bals Fund, Fundación Typa, and Germany’s Nrw and World Cinema Fund.
It also won the award for Award for Best Iberoamerican Director consisting off 150,000 Mexican pesos or its equivalent in dollars, because “almost wordlessly it portrays a complex and painful situation in Colombia which is all too common in Latin America.”
Special Feature Film Jury Award Iberoamerican Fiction of 125,000 Mexican pesos or its equivalent in dollars, went to the production company of “The 4th Company”/ ”La 4a Compañía” by Amir Galván Cervera and Mitzi Vanessa Arreola, based upon a true story about an underdog prison (American-style) football team that, against all odds, wins against the police force team. The jury stated that it “considers it a cinematic achievement about a shameful moment in the history of Mexico to be remembered and not to be repeated”. Adrian Thief also won for Best Actor, and he is that! There is no Isa of record, so those ISAs reading this should check it out on Cinando! It’s a seller!
Award for Best Latin American Film of 125,000 Mexican pesos or its equivalent in dollars went to the superb debuting director from Puerto Rico, Angel Manuel Soto for“La Granja”/ “The Farm”. Also the first film produced independently by Tom Davia’s Cinemaven (but check out his credits!), this film is a full-circle “Crash”-style story that rivals “Gemorrah” in its look at the barrio called “The Farm” or “La Granja” in which the lives of a midwife, a young boxer, a janitor, a mute kid and a young couple collide in a story about the desperate pursuit of happiness on the mean streets of La Granja. Shot on a budget of $250,000, this film took four years to complete as the Puerto Rican government film establishment sought to block its production and release – and you can see why. It previously played in Fantastic Fest.
This is another discovery film with no Isa, and I am sure the agents have already locked their eyes upon writer-director Angel Manuel Soto. He lives in Los Angeles. “Born in Santurce, Puerto Rico. Son of a car salesman and a flight attendant. Studied architecture and advertising. Always loved films. Now he makes them. He is a cinephile. He travels all over the world doing it, including Australia, Thailand, Cambodia, France, USA, and Puerto Rico. He is not planning on stopping.”
Best Screenplay Award went to Marina Seresesky for “La Puerta Abierta”/ “Open Door” (pictured above). Marina also directed this first film. She has made two shorts previously. After Ficg it will play at Sofia Iff 2016 in International Competition, San Diego Latino 2016 and Chicago Latino 2016 Film Festivals.
Movies Recommended for Selection for the Golden Globes Awards 2017 are “The 4th Company” and “Ciudades Desiertas” / “Deserted Cities” by Roberto Sneider.
Documentary Jury Special Award of 100,000 Mexican pesos or its equivalent in dollars to the director Jorge Caballero for“Patient”/ "Paciente" Isa Rise and Shine, a new company in Germany, picked up the film at its world premiere in Competition at Idfa.
Best Iberoamerican Short Film Award D of 75,000 pesos or its equivalent in dollars to the directors Miguel de Olaso and Bruno Zacharias for the 10 minute short “ Los Angeles 1991”.
Special Mention went to “Juan's Sundown”/ "El Ocaso de Juan" by Omar Deneb Vargas Juárez
Rigo Mora Award for Best Mexican Animated Short Film of 100,000 Mexican pesos went to the director Alejandro Rios for “ The Cats”/"Los Gatos."
Maguey Award for best Lgbt film went to "Theo et Hugo dans le meme bateau"/ "Paris 05:59" of France, directed by Olivier Ducastel and Jacques Martineau.
Special Mention went to “Neon Bull” of Brazil, directed by Gabriel Mascaro for its poetic and innovative illustrating of how traditional ideas of masculinity slowly have been made obsolete inviting us to question our own perspectives on gender bias.
After the Awards, Ficg gave a great closing night party. Lots of good people, new and old friends, great salsa band, danced til 3! Here’s me with my friend David Martinez of Raindance Film Festival. Coming from Guadalajara, living in London, this year he came home with Elliot Grove of Founder and Director of Raindance, and Aaron Wileman of Imaginative Exposure who gave a Master Class on Film Funds and Product Placement.
And of course I presented my own book in its abridged, Spanish language format, published by the University of Guadalajara Press, Cine Iberoamerican Industria y financiamiento por pais (Iberoamerican Cinema: Industry and Financing by Country). Read more about it here.
On Friday, March 11, it announced its awards and officially announced next year’s Guest of Honor, Germany, closing with the German film, Doris Dörrie’s “Fukushima Mon Amour” (Isa: The Match Factory). This film is a deeply moving homage to the spirit of humanity, recovery and love as a German clown, played by Rosalie Thomass and her clown partners, the wonderful Moshe Cohen of San Francisco and Nami Kamata, visit the people remaining at the devastated town of Fukushima and Rosalie bonds with the last geisha of Fukushima played by the beautiful Aya Irizuki. It premiered at the Panorama of the Berlinale where Doris won the C.I.C.A.E. Award and the Heiner Carow Prize.
Official Competition Winners FICG31
Mezcal Award for Best Mexican Film to “Maquinaria Panamericana”/ “Panamerican Machinery”
Mezcal jury
The jury consists of 30 students from related fields from universities or major schools of Mexico, Latin American, Europe and Canada. Serving as a sort of tutor, Jose Ramon Mikelajauregui, Director of Dis was responsible for the academic program held at FICG31.
The Mezcal Award consisting of 500,000 Mexican pesos went to the director, Joaquín del Paso for “Maquinaria Panamericana”/ “Panamerican Machinery”, a portrait of an inefficient factory on the edge of Mexico City where the workers lock themselves in when the owner is found dead in the back of the warehouse and they discover he has been bankrolling the wages out of his own pocket for years.
A coproduction of Mantarraya Producciones, it also won the Fipresci Prize at its premiere in the Forum of the Berlinale. International sales agent (Isa) is the new Paris-based sales and co-production company Luxbox whose
co-ceo Fiorella Moretti was formerly head of sales at Ndm, the Mexico City-based sales company she set up with director Carlos Reygadas and producer Jaime Romandia of Mantarraya Productions in 2012 to sell “Post Tenebras Lux”.
Co-ceo Hédi Zardi previously worked in sales for Fortissimo and went on to Unifrance, the French cinema promotions agency and then to the PR and events company Le Public Systeme, where he was in charge of industry initiatives at Marrakesh and Deauville festivals.
The pair got to know one another through Gabriel Ripstein’s “600 Miles”, winner of the best first feature last year at the Berlinale, which Zardi associate produced and Moretti sold.
Special Mention went to “Margarita” directed by Bruno Santamaría Razo
Infinitum Aaward Grante dby the Public, consisting of 150,000 pesos, went to " El Charro de Toluquilla" (Isa: Imcine) by José Villalobos Romero, a doc about mariachi singer Jaime Garcia Dominguez who became fascinated by the recklessness and ladies´ man lifestyle of the classic Mexican movie characters with one difference: he´s got HIV. Jaime faces an inner maturing process as he decides between keeping this lifestyle or becoming a family man. It also won the award for Best Iberoamerican Documentary of 150,000 Mexican pesos or its equivalent in dollars to the director.
Best Latin American Fiction Film consisting of 250,000 Mexican pesos or its equivalent in dollars went to the production company of Felipe Guerrero’s film “ Oscuro animal”, about three women forced to flee their homes in a war torn region in Colombia. The film also won Best Actress Award (s) for Marleyda Soto, Luisa Galiano and Jocelyn Vides Meneses and Best Photography Award to Fernando Lockett.
A coproduction of Argentina, Greece, Netherlands, Germany and Colombia, it is being sold internationally by FiGa. It previously played in the Rotterdam Film Festival’s Tiger Competition and Ficci Cartagena 2016’s Official Dramatic Competition. At the Berlinale’s Efm 2016 it was part of the World Cinema Fund’s First Look section. Financing for the film came from Colombia’s Proimágenes, Argentina’s Incaa, Netherlands’ Hubert Bals Fund, Fundación Typa, and Germany’s Nrw and World Cinema Fund.
It also won the award for Award for Best Iberoamerican Director consisting off 150,000 Mexican pesos or its equivalent in dollars, because “almost wordlessly it portrays a complex and painful situation in Colombia which is all too common in Latin America.”
Special Feature Film Jury Award Iberoamerican Fiction of 125,000 Mexican pesos or its equivalent in dollars, went to the production company of “The 4th Company”/ ”La 4a Compañía” by Amir Galván Cervera and Mitzi Vanessa Arreola, based upon a true story about an underdog prison (American-style) football team that, against all odds, wins against the police force team. The jury stated that it “considers it a cinematic achievement about a shameful moment in the history of Mexico to be remembered and not to be repeated”. Adrian Thief also won for Best Actor, and he is that! There is no Isa of record, so those ISAs reading this should check it out on Cinando! It’s a seller!
Award for Best Latin American Film of 125,000 Mexican pesos or its equivalent in dollars went to the superb debuting director from Puerto Rico, Angel Manuel Soto for“La Granja”/ “The Farm”. Also the first film produced independently by Tom Davia’s Cinemaven (but check out his credits!), this film is a full-circle “Crash”-style story that rivals “Gemorrah” in its look at the barrio called “The Farm” or “La Granja” in which the lives of a midwife, a young boxer, a janitor, a mute kid and a young couple collide in a story about the desperate pursuit of happiness on the mean streets of La Granja. Shot on a budget of $250,000, this film took four years to complete as the Puerto Rican government film establishment sought to block its production and release – and you can see why. It previously played in Fantastic Fest.
This is another discovery film with no Isa, and I am sure the agents have already locked their eyes upon writer-director Angel Manuel Soto. He lives in Los Angeles. “Born in Santurce, Puerto Rico. Son of a car salesman and a flight attendant. Studied architecture and advertising. Always loved films. Now he makes them. He is a cinephile. He travels all over the world doing it, including Australia, Thailand, Cambodia, France, USA, and Puerto Rico. He is not planning on stopping.”
Best Screenplay Award went to Marina Seresesky for “La Puerta Abierta”/ “Open Door” (pictured above). Marina also directed this first film. She has made two shorts previously. After Ficg it will play at Sofia Iff 2016 in International Competition, San Diego Latino 2016 and Chicago Latino 2016 Film Festivals.
Movies Recommended for Selection for the Golden Globes Awards 2017 are “The 4th Company” and “Ciudades Desiertas” / “Deserted Cities” by Roberto Sneider.
Documentary Jury Special Award of 100,000 Mexican pesos or its equivalent in dollars to the director Jorge Caballero for“Patient”/ "Paciente" Isa Rise and Shine, a new company in Germany, picked up the film at its world premiere in Competition at Idfa.
Best Iberoamerican Short Film Award D of 75,000 pesos or its equivalent in dollars to the directors Miguel de Olaso and Bruno Zacharias for the 10 minute short “ Los Angeles 1991”.
Special Mention went to “Juan's Sundown”/ "El Ocaso de Juan" by Omar Deneb Vargas Juárez
Rigo Mora Award for Best Mexican Animated Short Film of 100,000 Mexican pesos went to the director Alejandro Rios for “ The Cats”/"Los Gatos."
Maguey Award for best Lgbt film went to "Theo et Hugo dans le meme bateau"/ "Paris 05:59" of France, directed by Olivier Ducastel and Jacques Martineau.
Special Mention went to “Neon Bull” of Brazil, directed by Gabriel Mascaro for its poetic and innovative illustrating of how traditional ideas of masculinity slowly have been made obsolete inviting us to question our own perspectives on gender bias.
After the Awards, Ficg gave a great closing night party. Lots of good people, new and old friends, great salsa band, danced til 3! Here’s me with my friend David Martinez of Raindance Film Festival. Coming from Guadalajara, living in London, this year he came home with Elliot Grove of Founder and Director of Raindance, and Aaron Wileman of Imaginative Exposure who gave a Master Class on Film Funds and Product Placement.
And of course I presented my own book in its abridged, Spanish language format, published by the University of Guadalajara Press, Cine Iberoamerican Industria y financiamiento por pais (Iberoamerican Cinema: Industry and Financing by Country). Read more about it here.
- 3/17/2016
- by Sydney Levine
- Sydney's Buzz
It’s time to talk remakes again. Our ongoing series continues as we look at a comedy about the devil. Maybe that’s not quite the holiday spirit but we’re doing it anyway. This week, Cinelinx looks at Harold Ramis’ Bedazzled (2000).
Sometimes, it’s the chemistry between the lead actors that makes or breaks a film. When two actors just click, it lifts a film to a whole new level. It’s this on-screen cohesion (or lack thereof) that makes the difference between the two versions of Bedazzled.
The original version was made in England in 1967 and the remake in America in 2000. Both versions of the film follow a similar pot. Each one focuses on an unhappy man--named Stanley (Dudley Moore) in the original and Elliot (Brendan Fraser) in the remake—who is pining for a woman who doesn’t know he’s alive. Stanley/Elliot is approached by...
Sometimes, it’s the chemistry between the lead actors that makes or breaks a film. When two actors just click, it lifts a film to a whole new level. It’s this on-screen cohesion (or lack thereof) that makes the difference between the two versions of Bedazzled.
The original version was made in England in 1967 and the remake in America in 2000. Both versions of the film follow a similar pot. Each one focuses on an unhappy man--named Stanley (Dudley Moore) in the original and Elliot (Brendan Fraser) in the remake—who is pining for a woman who doesn’t know he’s alive. Stanley/Elliot is approached by...
- 12/28/2015
- by feeds@cinelinx.com (Rob Young)
- Cinelinx
Editor’s Note: This article was originally published May 5, 2015.
Ian Fleming’s James Bond is one of the most recognizable and successful characters in modern popular culture. The novels have sold over 100 million copies, and the film franchise is the second most successful in history, having been recently displaced by the Harry Potter series. For most readers and viewers, 007 is merely a Western pop icon. However, there is much more at work in the novels and films than appears on the surface. In fact, there are deeper undercurrents, themes, symbols, and messages that operate as psychological warfare propaganda and an in-depth semiotic analysis of the novels and films yields an interpretation that confirms this thesis. Much has been written on the subject of Ian Fleming’s James Bond. From Umberto Eco’s older essay “Narrative Structures in Fleming” to Christoph Linders’ modern collections The James Bond Phenomenon and Revisioning 007: James Bond and Casino Royale,...
Ian Fleming’s James Bond is one of the most recognizable and successful characters in modern popular culture. The novels have sold over 100 million copies, and the film franchise is the second most successful in history, having been recently displaced by the Harry Potter series. For most readers and viewers, 007 is merely a Western pop icon. However, there is much more at work in the novels and films than appears on the surface. In fact, there are deeper undercurrents, themes, symbols, and messages that operate as psychological warfare propaganda and an in-depth semiotic analysis of the novels and films yields an interpretation that confirms this thesis. Much has been written on the subject of Ian Fleming’s James Bond. From Umberto Eco’s older essay “Narrative Structures in Fleming” to Christoph Linders’ modern collections The James Bond Phenomenon and Revisioning 007: James Bond and Casino Royale,...
- 11/7/2015
- by Jay Dyer
- SoundOnSight
Here are a bunch of little bites to satisfy your hunger for movie culture: Movie Takedown of the Day: This week's Honest Trailer skewers the Back to the Future trilogy, of course: Alternate Cut of the Day: Back to the Future Part II could have been really, really short, and then there would have never been a Back to the Future Part III, if the sequel began correctly: Movie Analysis of the Day: The Onion's Peter K. Rosenthal revisits Back to the Future for a look at how it's all about Reagnonomics: Supercut of the Day: The Huffington Post has compiled all 93 instances of someone saying "future" in the Back to the Future trilogy: Product Placement Parody of the Day: Couch Tomato celebrates...
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- 10/22/2015
- by Christopher Campbell
- Movies.com
Universal & Mercedes
It’s impossible to deny that this summer movie season has seen its successes (namely Mad Max: Fury Road and Pixar’s lovely Inside Out), but it’s also served up a shameful number of uncommonly divisive films, with even relatively acclaimed efforts proving troubling in a number of areas for the hardcore crowd.
So, what made this the worst summer movie season ever? Product placement appears to have become more invasive than ever before, a number of desperate attempts to reboot stagnant franchises fell flat on their faces, and the portrayal of women in Hollywood came under severe scrutiny in two of the year’s most successful action films.
From massively-budgeted efforts to more low-key horror films and dramas, this summer truly tested viewer patience with its unsavory trends, enthusiasm in trampling over our beloved childhood icons and abundance of utterly tone-deaf storytelling. Here are the 11 dumbest...
It’s impossible to deny that this summer movie season has seen its successes (namely Mad Max: Fury Road and Pixar’s lovely Inside Out), but it’s also served up a shameful number of uncommonly divisive films, with even relatively acclaimed efforts proving troubling in a number of areas for the hardcore crowd.
So, what made this the worst summer movie season ever? Product placement appears to have become more invasive than ever before, a number of desperate attempts to reboot stagnant franchises fell flat on their faces, and the portrayal of women in Hollywood came under severe scrutiny in two of the year’s most successful action films.
From massively-budgeted efforts to more low-key horror films and dramas, this summer truly tested viewer patience with its unsavory trends, enthusiasm in trampling over our beloved childhood icons and abundance of utterly tone-deaf storytelling. Here are the 11 dumbest...
- 8/26/2015
- by Jack Pooley
- Obsessed with Film
I write about TV for a living, I watch a ton of TV, and I read a lot of news about TV, including a number of much-hyped stories that seem unavoidable all over the Internet. Yet even I can't bring myself to care about some of them. For instance:
1. The Taylor Swift/Nicki Minaj/Katy Perry MTV Vma Feud. Two years, five years, 10 years from now, no one else will care either, so let's stop caring now.
2. The VMAs themselves. The one day a year MTV pretends it still cares about music videos. Again, a year from now, will you remember who won any of these prizes?
3. The Jon-Snow-Is-Alive rumors. Either he is or isn't, but I'd rather just find out when I watch "Game of Thrones" next season and not endure nine months of speculation.
4. Wealthy White Senior Angeleno Dads Who Become Women. Jeffrey Tambor deserved an Emmy nod for "Transparent,...
1. The Taylor Swift/Nicki Minaj/Katy Perry MTV Vma Feud. Two years, five years, 10 years from now, no one else will care either, so let's stop caring now.
2. The VMAs themselves. The one day a year MTV pretends it still cares about music videos. Again, a year from now, will you remember who won any of these prizes?
3. The Jon-Snow-Is-Alive rumors. Either he is or isn't, but I'd rather just find out when I watch "Game of Thrones" next season and not endure nine months of speculation.
4. Wealthy White Senior Angeleno Dads Who Become Women. Jeffrey Tambor deserved an Emmy nod for "Transparent,...
- 7/24/2015
- by Gary Susman
- Moviefone
There's nothing prehistoric about Universal's Jurassic World. Jurassic World devoured everything in its path at the Friday box office for a projected North American opening of $181 million-$200 million — either the second or third biggest weekend of all time (Univeral's estimate is on the lower end). Read More 'Jurassic World' Has a Brookstone? Product Placement Runs Wild in the Park The $150 million tentpole, rescuing the dinosaur franchise from near-extinction and earning an A CinemaScore, grew bigger and bigger on Friday, grossing $82.9 million to nab the third biggest opening day in history. That included $18.
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read more...
- 6/12/2015
- by Pamela McClintock, Rebecca Ford
- The Hollywood Reporter - Movie News
I am the prime demographic for this movie, and I found it only sort of inoffensively blah. Chris Pratt: He’s no Jeff Goldblum. I’m “biast” (pro): love love love love love the original trilogy (yes, all of them)
I’m “biast” (con): nothing
(what is this about? see my critic’s minifesto)
I cried, my geek peeps. I cried at the opening of Jurassic World. Not at the bit where a baby dino cracks itself out of an egg, though that is awesome and in the world of this movie you know that someone has created @EmergencyCuteDinoBabies on Twitter and it is Everything.
No, I cried at the helicopter shot swooping in over Jurassic World — the park is open! — because I want this to be real. Why isn’t it real? Why haven’t we scienced into existence dinosaurs right outta the past? I know...
I’m “biast” (con): nothing
(what is this about? see my critic’s minifesto)
I cried, my geek peeps. I cried at the opening of Jurassic World. Not at the bit where a baby dino cracks itself out of an egg, though that is awesome and in the world of this movie you know that someone has created @EmergencyCuteDinoBabies on Twitter and it is Everything.
No, I cried at the helicopter shot swooping in over Jurassic World — the park is open! — because I want this to be real. Why isn’t it real? Why haven’t we scienced into existence dinosaurs right outta the past? I know...
- 6/11/2015
- by MaryAnn Johanson
- www.flickfilosopher.com
By: Jay Dyer
Ian Fleming’s James Bond is one of the most recognizable and successful characters in modern popular culture. The novels have sold over 100 million copies, and the film franchise is the second most successful in history, having been recently displaced by the Harry Potter series. For most readers and viewers, 007 is merely a Western pop icon. However, there is much more at work in the novels and films than appears on the surface. In fact, there are deeper undercurrents, themes, symbols, and messages that operate as psychological warfare propaganda and an in-depth semiotic analysis of the novels and films yields an interpretation that confirms this thesis. Much has been written on the subject of Ian Fleming’s James Bond. From Umberto Eco’s older essay “Narrative Structures in Fleming” to Christoph Linders’ modern collections The James Bond Phenomenon and Revisioning 007: James Bond and Casino Royale, there...
Ian Fleming’s James Bond is one of the most recognizable and successful characters in modern popular culture. The novels have sold over 100 million copies, and the film franchise is the second most successful in history, having been recently displaced by the Harry Potter series. For most readers and viewers, 007 is merely a Western pop icon. However, there is much more at work in the novels and films than appears on the surface. In fact, there are deeper undercurrents, themes, symbols, and messages that operate as psychological warfare propaganda and an in-depth semiotic analysis of the novels and films yields an interpretation that confirms this thesis. Much has been written on the subject of Ian Fleming’s James Bond. From Umberto Eco’s older essay “Narrative Structures in Fleming” to Christoph Linders’ modern collections The James Bond Phenomenon and Revisioning 007: James Bond and Casino Royale, there...
- 5/12/2015
- by Jay Dyer
- SoundOnSight
Here's what we learned from the first trailer for Batman V Superman: Dawn Of Justice.
This article contains potential Batman V Superman: Dawn Of Justice spoilers.
In case you missed the internet crack open like the fiery pits of Apokolips, the new Batman V Superman: Dawn Of Justice trailer is here, and it is quite the serious affair. Never before have fans seen the Dark Knight and Man of Steel share the same screen in live-action, but this trailer delivers exactly that plus plenty of clues for what to expect from the 2016 superhero grudge match.
So let’s get into analysing the Batman v. Superman: Dawn of Justice trailer...
Right off the bat, it appears we’re one step closer into the grounded aesthetic of Man Of Steel and about five removed. The first thing we hear is a media onslaught of talking heads judging whether we can trust an...
This article contains potential Batman V Superman: Dawn Of Justice spoilers.
In case you missed the internet crack open like the fiery pits of Apokolips, the new Batman V Superman: Dawn Of Justice trailer is here, and it is quite the serious affair. Never before have fans seen the Dark Knight and Man of Steel share the same screen in live-action, but this trailer delivers exactly that plus plenty of clues for what to expect from the 2016 superhero grudge match.
So let’s get into analysing the Batman v. Superman: Dawn of Justice trailer...
Right off the bat, it appears we’re one step closer into the grounded aesthetic of Man Of Steel and about five removed. The first thing we hear is a media onslaught of talking heads judging whether we can trust an...
- 4/18/2015
- by simonbrew
- Den of Geek
It was recently announced Stephanie Sigman (Miss Bala) had been added to the cast of the upcoming James Bond movie, Spectre. Casting reports referred to Sigman as the first Mexican "Bond girl", a character named Estrella, but a story at Tax Analysts brings word the casting was part of a much bigger story. Once emails leaked out of Sony last year, it was revealed the budget on Spectre was upwards of $300 million, and Jonathan Glickman, president of MGM's motion picture group, was looking for ways to shave money from said budget. Tax incentives are one such way and the production has, more-or-less, secured a $20 million tax credit courtesy of the Mexican government. What forc Well... Note: There are some story spoilers in the following, all of which from the film's opening scene. To fill the role of Estrella, a woman whose hotel room Bond uses to begin his hunt for an assassin named Sciarra,...
- 3/16/2015
- by Brad Brevet
- Rope of Silicon
When it comes to product placement in films, Michael Bay movies pretty much take the cake - so long as said cake is sponsored by someone.
So it's with little surprise that Brand Channel has announced its Brandcameo Product Placement Awards with Bay's "Transformers: Age Of Extinction" featuring the most product placement of any movie in 2014.
Approximately 55 separate brands appeared in the film, way ahead of nearest competitors "Gone Girl" with 48, "Ride Along" with 37 and "22 Jump Street" with 32.
Bay's films have a habit of winning with previous titles "Pain and Gain" and "Transformers: Dark of the Moon" taking the 2013 and 2011 award respectively. Click here for the full list of winners for this year.
So it's with little surprise that Brand Channel has announced its Brandcameo Product Placement Awards with Bay's "Transformers: Age Of Extinction" featuring the most product placement of any movie in 2014.
Approximately 55 separate brands appeared in the film, way ahead of nearest competitors "Gone Girl" with 48, "Ride Along" with 37 and "22 Jump Street" with 32.
Bay's films have a habit of winning with previous titles "Pain and Gain" and "Transformers: Dark of the Moon" taking the 2013 and 2011 award respectively. Click here for the full list of winners for this year.
- 3/4/2015
- by Garth Franklin
- Dark Horizons
Before we close the book on another year in film, Brandcameo has one more set of awards to hand out. But these aren’t for achievements in acting or directing or sound mixing. These are for all the product placements that cropped up in the movies last year, from Reese Witherspoon‘s Rei boots in Wild to, […]
The post ‘Transformers: Age of Extinction’ Tops 2015 Product Placement Awards appeared first on /Film.
The post ‘Transformers: Age of Extinction’ Tops 2015 Product Placement Awards appeared first on /Film.
- 3/4/2015
- by Angie Han
- Slash Film
Bathed in fluorescent lights, the telemarketing office where Evan (Fran Kranz of The Cabin in the Woods) works seems to be sucking the life out of his soul, but he’ll have to worry about the same thing happening to his lifeblood when a vampire takes his sought-after promotion. Such is the horror-comedy setup in Bloodsucking Bastards, a recent Slamdance screening that Shout! Factory just picked up:
Press Release - “Los Angeles / New York / Park City (January 29, 2015) – Shout! Factory, a leading multi- platform entertainment company, has acquired the North American rights to Bloodsucking Bastards, a vampire comedy-horror feature directed by Brian James O’Connell and penned by the comedy troupe Dr. God from an original script by Ryan Mitts. The announcement was made today by Shout! Factory’s founder Richard Foos, Bob Emmer and Garson Foos, and the producers of the film.
In this picture deal, Shout! Factory secured exclusive...
Press Release - “Los Angeles / New York / Park City (January 29, 2015) – Shout! Factory, a leading multi- platform entertainment company, has acquired the North American rights to Bloodsucking Bastards, a vampire comedy-horror feature directed by Brian James O’Connell and penned by the comedy troupe Dr. God from an original script by Ryan Mitts. The announcement was made today by Shout! Factory’s founder Richard Foos, Bob Emmer and Garson Foos, and the producers of the film.
In this picture deal, Shout! Factory secured exclusive...
- 1/29/2015
- by Derek Anderson
- DailyDead
As less people are watching television live, networks are scrambling to find alternative ways to truly account for viewership — both live and delayed.
Less than a decade ago, the majority of viewers watched their programs as they aired. But with the advent of on-demand technologies, people are choosing to watch when it’s most convenient to them… and that usually means without having to watch through commercials. The biggest problem for networks is that advertisers aren’t sold on delayed numbers as they don’t believe viewers are watching the commercials.
“There are a lot of challenges,” A+E Networks chief revenue officer,...
Less than a decade ago, the majority of viewers watched their programs as they aired. But with the advent of on-demand technologies, people are choosing to watch when it’s most convenient to them… and that usually means without having to watch through commercials. The biggest problem for networks is that advertisers aren’t sold on delayed numbers as they don’t believe viewers are watching the commercials.
“There are a lot of challenges,” A+E Networks chief revenue officer,...
- 1/12/2015
- by Itay Hod
- The Wrap
From Charlie Kaufman’s highly recommended 2011 BAFTA lecture: ‘People all over the world spend countless hours of their lives every week being fed entertainment in the form of movies, TV shows, newspapers, YouTube videos and the internet. And it’s ludicrous to believe that this stuff doesn’t alter our brains. It’s also equally ludicrous to believe that – at the very least – this mass distraction and manipulation is not convenient for the people who are in charge. People are starving. They may not know it because they’re being fed mass produced garbage. The packaging is colorful and loud, but it’s produced in the same factories that make Pop Tarts and iPads, by people sitting around thinking, ‘What can we do to get people to buy more of these?’ They’re selling you something. And the world is built on this now. Politics and government are built on this,...
- 12/31/2014
- by Christina Kallas
- Hope for Film
Sony Pictures Television
Product placement is when a specific, commercially-available product or service is mentioned within a film, television series, or any other sort of programme. Often designed to be as seamless as possible, it’s a technique that’s reportedly used by around two-thirds of advertisers.
The idea is that audiences become emotionally invested in the shows that they’re watching, and when one of their favourite characters begins using a branded product or service, it becomes more desirable to the viewer. When a product is placed within a certain show, an added benefit is being able to target a very specific audience or demographic – there’s not much use in trying to sell something to someone that doesn’t need or want it.
While a lot of product placement can be so subtle that you barely notice it on a conscious level, the results aren’t always seamless.
Product placement is when a specific, commercially-available product or service is mentioned within a film, television series, or any other sort of programme. Often designed to be as seamless as possible, it’s a technique that’s reportedly used by around two-thirds of advertisers.
The idea is that audiences become emotionally invested in the shows that they’re watching, and when one of their favourite characters begins using a branded product or service, it becomes more desirable to the viewer. When a product is placed within a certain show, an added benefit is being able to target a very specific audience or demographic – there’s not much use in trying to sell something to someone that doesn’t need or want it.
While a lot of product placement can be so subtle that you barely notice it on a conscious level, the results aren’t always seamless.
- 12/23/2014
- by Tom Butler
- Obsessed with Film
Twenty-five years ago this week, kids were finalizing their holiday wish lists, which probably included a Nintendo home gaming system or the company's brand new handheld device, the Game Boy.
Video: 9 Stars Who Voiced Video Game Characters
They were also gearing up to see The Wizard, a brand new movie about -- what else? -- Nintendo.
Older generations may not recall The Wizard, but I do, since it was aimed right at my demographic. For one thing, it starred Fred Savage, a kid my age I saw each week on The Wonder Years. For another, it offered our first peek at Nintendo's highly anticipated new game, Super Mario Bros. 3. And even though I wasn't a serious gamer, that still sounded fairly interesting.
News: Simpsons Flashback
The Wizard follows two runaway brothers, Corey and Jimmy (Savage and Luke Edwards) on a cross-country trip to compete in a Nintendo tournament. Savage is chatty and a quick thinker, but Jimmy hasn't...
Video: 9 Stars Who Voiced Video Game Characters
They were also gearing up to see The Wizard, a brand new movie about -- what else? -- Nintendo.
Older generations may not recall The Wizard, but I do, since it was aimed right at my demographic. For one thing, it starred Fred Savage, a kid my age I saw each week on The Wonder Years. For another, it offered our first peek at Nintendo's highly anticipated new game, Super Mario Bros. 3. And even though I wasn't a serious gamer, that still sounded fairly interesting.
News: Simpsons Flashback
The Wizard follows two runaway brothers, Corey and Jimmy (Savage and Luke Edwards) on a cross-country trip to compete in a Nintendo tournament. Savage is chatty and a quick thinker, but Jimmy hasn't...
- 12/18/2014
- Entertainment Tonight
Product placement has become an unfortunately big part of modern studio filmmaking, but there are some ads in movies that we can still appreciate: the fake ones. Rather than actually trying to tell us something, they merely exist as a fun gag or even sometimes as a plot device. And now you can see a whole bunch of them mashed together in this fantastic new supercut. Created by the good folks over at Screen Junkies, this new video brings together clips from more than 30 different movies, all advertising some kind of strange in-movie product. The selections are all over the map and come from all different genres - and like with most supercuts, half of the fun is trying to figure out what movies the clips come from. Thanks to the video's YouTube description, you can match all of your guesses against the full list of movies in order: Robocop...
- 11/5/2014
- cinemablend.com
HelloCakeTV
Product placement is something so ingrained in the world of movies that most people don’t even realise they’re being subjected to a feast of promotional tie-ins when they sit down to watch the latest Hollywood blockbuster…if it’s done well, anyway. After all, what better way to sell some Ray Bans than have Will Smith wearing them? Some movies obviously take this to ludicrous, near-parodic extremes, such as in Michael Bay’s Transformers films, whereas others have herded the concept in an altogether more interesting (and demented) direction.
Sometimes product placement just feels wildly inappropriate, be it due to the advertisement being blatantly shoved into a serious scene viewers are supposed to be deeply immersed in, or because an adult product is being marketed in a children’s film. Sometimes it’s just a case of a product being featured in such a dubious light that...
Product placement is something so ingrained in the world of movies that most people don’t even realise they’re being subjected to a feast of promotional tie-ins when they sit down to watch the latest Hollywood blockbuster…if it’s done well, anyway. After all, what better way to sell some Ray Bans than have Will Smith wearing them? Some movies obviously take this to ludicrous, near-parodic extremes, such as in Michael Bay’s Transformers films, whereas others have herded the concept in an altogether more interesting (and demented) direction.
Sometimes product placement just feels wildly inappropriate, be it due to the advertisement being blatantly shoved into a serious scene viewers are supposed to be deeply immersed in, or because an adult product is being marketed in a children’s film. Sometimes it’s just a case of a product being featured in such a dubious light that...
- 10/27/2014
- by Jack Pooley
- Obsessed with Film
Movie stars sell the sizzle, but it's the tech entrepreneurs who say they're keeping the business on the cutting edge. The audience at TheGrill, TheWrap‘s fifth annual Media Leadership Conference at the Montage hotel in Beverly Hills, got a sneak peek Monday at creative solutions to problems in areas like media buys, content creation and workflow. The presenters at the panel called “New Product Presentations, Product Placement, Social, and Data Flow” received a limited time to introduce their products was the solution to their business needs. See photos: The Scene at TheGrill 2014: TheWrap's Media Leadership Conference (Photos) “Eighty-three...
- 10/7/2014
- by Gina Hall
- The Wrap
Box office is one way a film makes its cash: but what are the others?
I know you’ll have noticed this by now, but it’s definitely called show business for a reason. It’s not show show art, show entertainment or even show exhibitionist impulse. Unless movies make money, the money to make movies would dry up pretty quickly. But where does this money come from?
Actually, that’s an easy one. It comes, almost entirely, from you and me and people like us. The real question should be how does this money get from our back pockets and into the coffers of the big movie studios.
Some of the pathways are incredibly obvious, some perhaps a little less so. Let’s take a look at 16 of the ways that movies make money.
1. Ticket sales
I had just started working in a cinema when Jurassic Park was released.
I know you’ll have noticed this by now, but it’s definitely called show business for a reason. It’s not show show art, show entertainment or even show exhibitionist impulse. Unless movies make money, the money to make movies would dry up pretty quickly. But where does this money come from?
Actually, that’s an easy one. It comes, almost entirely, from you and me and people like us. The real question should be how does this money get from our back pockets and into the coffers of the big movie studios.
Some of the pathways are incredibly obvious, some perhaps a little less so. Let’s take a look at 16 of the ways that movies make money.
1. Ticket sales
I had just started working in a cinema when Jurassic Park was released.
- 9/12/2014
- by ryanlambie
- Den of Geek
Transformers: Age of Extinction is such a mixed bag. It has amazing action sequences, an ambitious storyline, a nearly 3 hour runtime, and the most gratuitous product placement. Just like fast food, the movie is processed yet tasty, with little nutritional value. We know it's bad, but we enjoy it anyway.
With a 17% rating from critics and a 73% from the audience on Rotten Tomatoes, the film deserves both scores. It is far from high art and is very much high commerce. If you enjoyed any of the first 3 Transformers films, odds are you will enjoy this new one.
The rest of my review is going to have some very minor spoilers. I'll try to minimize how much I reveal, but to properly explain what I think worked and what didn't, I feel it's necessary.
Very Minor Spoilers AheadStory
Pro
The darkest and most ambitious story. A human dark ops team inside...
With a 17% rating from critics and a 73% from the audience on Rotten Tomatoes, the film deserves both scores. It is far from high art and is very much high commerce. If you enjoyed any of the first 3 Transformers films, odds are you will enjoy this new one.
The rest of my review is going to have some very minor spoilers. I'll try to minimize how much I reveal, but to properly explain what I think worked and what didn't, I feel it's necessary.
Very Minor Spoilers AheadStory
Pro
The darkest and most ambitious story. A human dark ops team inside...
- 6/27/2014
- by Free Reyes
- GeekTyrant
Over the course of the last two years the YouTube ecosystem has dramatically commercialized in new ways for independent video creators. For digital talent to make meaningful upside in today's market requires new revenue streams outside of traditional revenue splits on video ad units. Things like iTunes sales, merchandise lines, and most of all, brand deals, are now the lifeblood of these artists. With CPMs in decline across the board - a trend that will not abate for a variety of reasons - brand deals are, and will increasingly be, what lines these creators’ pockets. However, as a talent manager I'm finding that the contracts that come along with brand dollars are in many cases too broad in scope, often to the point of exploitive. As an industry of artists, managers, agents, producers, sellers and executives, we need to strike a balance where both brands and talent win. Too often we forget that without talent,...
- 5/9/2014
- by Andrew Graham
- Tubefilter.com
Warner Bros. Pictures
As much as it might make the artistically minded cinephiles among us uncomfortable, the cold hard fact is that movie industry is all about the money. Product placement, a marketing strategy that involves the inclusion of a product into a film for advertising purposes, has been a cinematic tradition since the inception of the medium. Before films began to include narratives, motion pictures were seen by the general public as nothing more than sideshow attractions to gawk at; filmgoers went to fairgrounds to see industry-funded short films for their visual effects. Essentially, cinema was born from advertising.
Product placement continued throughout cinema’s evolution, showing up in notable classics like the first winner of the Academy Award for best picture Wings (1927), Fritz Lang’s M (1931) and It’s a Wonderful Life (1946). The inclusion of everyday products can lend a movie a greater air of realism, and if...
As much as it might make the artistically minded cinephiles among us uncomfortable, the cold hard fact is that movie industry is all about the money. Product placement, a marketing strategy that involves the inclusion of a product into a film for advertising purposes, has been a cinematic tradition since the inception of the medium. Before films began to include narratives, motion pictures were seen by the general public as nothing more than sideshow attractions to gawk at; filmgoers went to fairgrounds to see industry-funded short films for their visual effects. Essentially, cinema was born from advertising.
Product placement continued throughout cinema’s evolution, showing up in notable classics like the first winner of the Academy Award for best picture Wings (1927), Fritz Lang’s M (1931) and It’s a Wonderful Life (1946). The inclusion of everyday products can lend a movie a greater air of realism, and if...
- 5/7/2014
- by Travis Earl
- Obsessed with Film
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