In this visual essay (and video embedded above), Alvin Chang shows how science fiction movies have gotten darker and more complex since the 1950s, when many movies were set in the present with a clear existential threat that was then overcome.
But these days, it’s much more likely that protagonists also have to overcome societal forces — political movements, systemic inequality, rampant capitalism. These are basically things that seem too big to fix.
It’s also far more likely that the narrative explores inner conflicts — moral dilemmas, identity crises, and wrestling with our understanding of what it means to be human. We don’t just face outside threats; we also face threats within ourselves.
Ultimately, today’s sci-fi stories are far more likely to be a commentary on current social issues. These might be critiques of political ideologies, runaway capitalism, irresponsible innovation, human apathy, or eroding mental health.
As if we needed more reasons to love her, Ayo Edebiri is a total film dork. First, there’s the account on Letterboxd — her review of Empire Strikes Back: “this movie is great but I was really shocked by how ugly Yoda was sorry if that pisses anybody off but I had only seen baby Yoda and adult Yoda is fucking busted”. And recently, she totally nerded out in the Criterion Collection closet.
The actor shares her love for sexy and stylish heist movies like Charade and Thief; praises the work of Juzo Itami (whom she calls “the G.O.A.T.”) and his wife, Nobuko Miyamoto; and talks about the African American surrealist imagery in To Sleep with Anger.
So infectiously joyful! As one of the YT commenters said:
Between the prepared list on her phone and the Radiohead t-shirt I feel like this was the closest the comments section has been to having one of us in the closet
For National Geographic, Tony Hale (who played Fear in Inside Out 2) talks to psychologist and author Dr. Lisa Damour about Pixar’s new film, her role as a consultant for the filmmakers, and what science says about the emotions in the movie. From The Kid Should See This:
By blending Pixar’s storytelling with scientific expertise, the Inside Out films and this discussion help make the complex topic of emotional development approachable and more familiar. They offer viewers of all ages vocabulary to better understand and express their feelings, while normalizing the intricate emotional experiences we encounter throughout life.
One of the things that happens when people become teenagers is that their brain becomes more sophisticated, and it allows for self-conscious emotions. Before age 13, kids are concrete in their thinking. They can’t always see things from another perspective. Then around 13 or 14, the ability to picture oneself on the outside, to imagine different scenarios, arrives as a result of brain development.
With that arrival comes the ability to be embarrassed and to imagine what other people think of you. Or to have envy, to want something somebody else has and to want to know why you don’t have it. Ennui is so funny and wonderful and really maps onto the natural disdain and over-it-ness teenagers can have for everything. Then, of course, anxiety is a major player in this movie. What anxiety requires is the ability to imagine and anticipate. Fear is our response to the threat right in front of us, whereas anxiety is picturing things that might happen.
As the parent of two teens and also as someone who perhaps remembers a little too much what it felt like to be a teenager, I found Inside Out 2’s portrayal of the emotions (and how to manage them) to be really convincing. (via the kid should see this)
Ok, this trailer for Ridley Scott’s Gladiator II really got me wound up. Denzel Washington, Paul Mescal, Pedro Pascal, Connie Nielsen — I am here for all of it. November 22 can’t come soon enough (for several reasons…)
Members of the original cast of The Avengers (Robert Downey Jr., Scarlett Johansson, Chris Hemsworth, Chris Evans, Jeremy Renner, and Mark Ruffalo) reunited to dub the movie in the Lakota language.
Mark Ruffalo and members of the initiative sit down with us to share the story of this amazing reunion and its very special cause. From the recording studio to the big screen, we explore this important cinematic milestone and celebrate the release that took over 15 months, 62 Lakota-Dakota language speakers, and the original Avengers team to come together and Assemble!
More details from the Lakota Times:
On June 14th, 2024, Disney plus will release the Avengers film that will be dubbed in Lakota. Cyril “Chuck” Archambault, Ray Taken Alive, Dallas Nelson, Lawrence Archambault along with the Lakota Reclamation Project, Grey Willow Studios, students from McLaughlin school, elders from the Standing Rock community and many others have all worked very hard together to complete this project.
A couple of years ago, Ray and Chuck talked about the idea of dubbing the Avengers movie. From there, Chuck spoke with Mark Ruffalo about the idea and Ruffalo said he will get back to them about it. Several months later, a meeting was set up with Marvel and Disney to discuss this idea. Not only did they approve of the project, but Marvel and Deluxe studios helped them through it.
From there, they were able to receive a grant to help with funding, within the budgets they made sure that the Elders would be the highest paid in the project.
When an emotion takes over in the “Inside Out” movies, a control board in Riley’s mind changes to that feeling’s color; Anxiety’s takeover, however, is more absolute. She creates a stronghold in Riley’s imagination, where she forces mind workers to illustrate negative hypothetical scenarios for Riley’s future. Soon, Riley’s chief inner belief is of her inadequacy; the emotions hear “I’m not good enough” as a low, rumbling refrain in her mind.
I’m familiar with anxiety’s hold on the imagination; my mind is always writing the script to the next worst day of my life. It’s already embraced all possibilities of failure. And my anxiety’s ruthless demands for perfection often turn my thoughts into an unrelenting roll-call of self-criticisms and insecurities.
And yet — Anxiety isn’t the villain of this movie.
A cursory spin around social media reveals many other people who identified with that aspect of the film.
I really enjoyed this movie and loved that they didn’t make Anxiety the villain. It would have been so easy to do so — Hollywood has a habit of really dumbing things down, especially in movies aimed at kids. The filmmakers seemed to understand that anxiety is the flip-side of a coin that includes some mixture of watchfulness, anticipation, and exhilaration. That emotion can be useful to people, until it spins out of the control as in the movie and then it wreaks havoc.
Wallace & Gromit are returning for a feature-length film later this year — and so is Feathers McGraw, the scofflaw penguin that made off with the wrong trousers in, um, The Wrong Trousers. Here’s the premise of Vengeance Most Fowl:
In this next installment, Gromit’s concern that Wallace is becoming too dependent on his inventions proves justified, when Wallace invents a “smart” gnome that seems to develop a mind of its own. When it emerges that a vengeful figure from the past might be masterminding things, it falls to Gromit to battle sinister forces and save his master … or Wallace may never be able to invent again!
Timely! Vengeance Most Fowl will debut on BBC in the UK in late December and at some later date on Netflix in the US and elsewhere.
A 4K restoration of Akira Kurosawa’s epic Seven Samurai is heading to theaters this summer. The film screened at Cannes in May and screenings in the US start in July:
Janus will open the restoration on Friday, July 5 in New York at Film Forum after which a Los Angeles premiere will take place at the American Cinematheque’s Egyptian Theatre on Sunday, July 7. The film will open wide on Friday, July 12 in Los Angeles at Laemmle Royal.
Here’s the official poster for the restoration:
On a personal note, I’m pretty disheartened there’s a 99% chance this won’t be playing anywhere near me in Vermont. Run Lola Run was rereleased in theaters last week and I couldn’t find it anywhere within a reasonable drive. And the nearest IMAX is 2h15m away. I’m thankful that I can get all sorts of culture pumped into my house at gigabit speeds, but per contemporary wisdom, “we’ve got Seven Samurai’s 4K restoration at home” is just not the same.
YouTuber Nerrel takes James Cameron to task for releasing 4K remasters of Aliens and True Lies that have been, well, ruined by using AI to clean them up.
The best 4k releases tend to follow a pretty simple template: clean and scan the negative, repair any obvious signs of damage, and restore the colors to match the original grading, with as little meddling beyond that as possible. The process should not be about modernizing the style or forcing film to look like digital video. 35mm film was capable of incredible picture quality, and 4k is the first home format capable of delivering most of that detail — that should be enough. A well done 4k is like having a pristine copy of the original negative to watch in your own home, with the full data from that celluloid — grain and detail alike — digitally preserved forever. And that’s the problem with deep learning algorithms — they can’t preserve details. They make their best guess about what an object is supposed to be, then pull new details out of their digital assholes and smear them across the screen.
If Hollywood and one of its best directors don’t care enough about their movies to do them right, how are they supposed to convince us to care about their movies?
The first Black Barbie doll was created and sold in 1980. Black Barbie, a documentary streaming on Netflix later this month, tells the story of how the doll came to be and the impact it had on a generation of young people who were able to see themselves in a doll with the same color skin, perhaps for the first time.
The trailer opens with this line: “If you’ve gone your whole life and you’ve never seen anything made in your own image, there is damage done.” Which is then echoed later in the trailer when a little girl is describing her Barbie: “Really pretty, and has lochs, just like me”.
I was a little too young (and culturally sheltered — like I’d never heard of New York magazine) in 1985 to really understand what the heck the Brat Pack was (not to mention what the name was referencing), but as a child of the 80s, I obviously grew up watching movies and TV shows that featured these actors. According to Wikipedia (which is a good read if you’re unfamiliar with the whole thing), here are some of the actors that were in the Brat Pack (or Brat Pack-adjacent): Emilio Estevez, Anthony Michael Hall, Rob Lowe, Andrew McCarthy, Demi Moore, Judd Nelson, Molly Ringwald, Ally Sheedy, Tom Cruise, Charlie Sheen, James Spader, Robert Downey Jr., John Cusack, and Matthew Broderick.
The Brat Pack moniker was coined in a 1985 New York magazine article and it stuck. And according to some of the members, it ruined lives, careers, and friendships. Now one of the group members, Andrew McCarthy, has directed a documentary about the group: Brats. From Deadline:
Brats looks at the iconic films of the 1980s that shaped a generation and the narrative that took hold when their young stars were branded the “Brat Pack.” McCarthy reunites with his fellow Brat Packers — friends, colleagues and former foes, including Rob Lowe, Demi Moore, Ally Sheedy, Emilio Estevez, Jon Cryer, Lea Thompson and Timothy Hutton, many of whom he had not seen for over 30 years — to answer the question: What did it mean to be part of the Brat Pack? The actor-filmmaker also sits down for a first-time conversation with writer David Blum, who fatefully coined the term Brat Pack in a 1985 New York Magazine cover story.
That trailer definitely hooked me in. Brats will be available on Hulu on June 13.
The Century City mall, selected for its futuristic appearance, was a primary battleground in the plot. LIFE staff photographer Ralph Crane came to the set and took pictures of the costumed actors in the mall, trying on shoes and making eyes at the lingerie store display, as well as eating in the mess hall with their masks half off. The pictures make for easy laughs, capturing the kind of shenanigans that help liven up a fourth Apes film in as many years.
Two of my biggest childhood touchstones were Sesame Street and the Muppet Show. The creative spark behind both shows was Jim Henson, the subject of a forthcoming documentary directed by Ron Howard. From the press release:
Produced with the full participation and cooperation of the Henson family, “Jim Henson Idea Man” is an unprecedented, intimate look at Henson’s illustrious, revolutionary career and complex personal life. Using never-before-seen personal archival home movies, photographs, sketches, and Henson’s personal diaries, as well as interviews with those who knew him best, the film is the definitive portrait of one of the world’s most inspiring and iconoclastic creators.
From the SoundWorks Collection, this is a 30-minute featurette on the sound design of Dune, in which the film’s sound teams talks about how they created the sounds of the Arrakis desert, the sandworm, ornithopters, spice, and the voice of the Bene Gesserit.
That’s something which - I learned a trick from Lee Scratch Perry, who I worked with in Switzerland about 10 years ago. He’s the pioneer of dub reggae, which must be the genre of music with the most bass. And one of the tricks that he used was to record a bass line and then to play it back through a huge speaker in a room that’s resonant…and record that. So it enhances the resonance of the bass. You also hear something of the shaking of the room. So that was one of the tricks that we used to give a sort of a very tactile sense to this spiritual adventure that Paul’s going on.
Queendom is a documentary film by Agniia Galdanova about queer Russian activist and performance artist Jenna Marvin and her unusual form of protest against the war in Ukraine and Russia’s treatment of LGBTQ+ people. From a short review in the Guardian:
When Russia invaded Ukraine in February last year, some brave souls took to the streets of Moscow to voice their horror at the war, and were met with batons and police brutality. Radical queer performance artist Gena Marvin took a different approach. Wearing platform boots, body paint and wrapped in barbed wire, she walked the streets of Moscow in a stark, silent statement against the war. To call Gena a drag artist fails to capture just how subversive and courageous are her public “performances”. Her otherworldly costumes, created from junk and tape, show the influence of Leigh Bowery; her fearlessness evokes the punk provocation of Pussy Riot.
Marvin’s performances can be intense — check out this video from Paris in 2022. France had just advanced into the semifinals of the World Cup and she went out on the streets dressed in an all-black costume straight out of Alien or Pan’s Labyrinth:
Queendom opens in theaters and will available on streaming on June 14.
Francis Ford Coppola has been making Megalopolis since 1983 and has self funded it “in part by the sale of a significant portion of the director’s wine empire”. But the trailer is finally here and it premieres at Cannes in two days’ time. Here’s a synopsis shared by Coppola himself:
A man balances precariously on a ledge high above a once-grand city in the opening scene of Francis Ford Coppola’s MEGALOPOLIS, and the movie that follows is — at least in part — about an entire civilization teetering on a similarly precarious ledge, devouring itself in a whirl of unchecked greed, self-absorption, and political propaganda, while a few bold dreamers push against the tide, striving to usher in a new dawn. The man is called Caesar (Adam Driver), like the Roman general who gave rise to the Roman Empire, Cesar the labor leader who organized California’s farm workers in the 1960s, and a few other notably great men of history. But he is also clearly an avatar of Coppola himself — a grand visionary witnessing a once-great thing (call it cinema if you must) withering before his very eyes and determined to revivify it. And, after decades of planning, MEGALOPOLIS the movie is the powerful elixir he has produced: a sweeping, big-canvas movie of provocative ideas and relentless cinematic invention that belies its maker’s 84 years of age.
Coppola seems to have been born-again by a strike of filmic lightning, and the movie — no, the experience (complete with in-theater “live cinema”) — that has emerged feels at once the work of a film-school wunderkind unbowed by notions of convention, but also the work of a wizened master who knows much about life and the ways of the world. To paraphrase Coppola himself speaking decades ago about his APOCALYPSE NOW, MEGALOPOLIS isn’t a movie about the end of the world as we know it, it is the end of the world as we know it. Only, where APOCALYPSE left us in a napalm-bombed fever-dream haze, MEGALOPOLIS, surprisingly and movingly, bestows on us a final image glowing with hope for the future.
You should also watch this clip of the film shared by Coppola, which reveals another aspect of the story:
This is either going to be amazing or a beautiful disaster, but either way I’m excited to see it…if they can find someone to distribute the film.
We’re going to use the movie as a sort of primer to help explain what patriarchy actually is, what it isn’t, and how it ends up harming everyone, including men. To have any kind of productive conversation, we have to get over that defensiveness that so many men feel whenever they they come across the word “patriarchy”. Contrary to popular belief, patriarchy is not a synonym for men, nor is it a code word for masculinity, and it certainly has nothing to do with hating men.
The bibliography in the description of the video lists three books if you’d like to do some reading on the topic:
P.S. While I was watching this video, YouTube removed it after Warner Brothers “blocked it on copyright grounds”. The channel is challenging the takedown and has uploaded it to Patreon and archive.org in the meantime. (I’m leaving the embed in case it comes back to life.) This bullshit is so irritating — Google just totally letting massive media corporations decide what’s copyright infringing without recourse. And Warner (and Gerwig & Robbie too to some lesser extent)…you made the fucking movie to get a message across and to get people talking and someone posts a thoughtful video essay about the central issue of the film and you fucking take it down?
Here is a pleasantly painful trailer for a new movie from the filmmaker Joanna Arnow. It opens this Friday, April 26, at IFC and Lincoln Center in NYC. I don’t know if I’m going to watch it, but I couldn’t really look away.
Arnow also stars as…
an emotionally detached young Brooklynite drifting through unremarkable days and nights. Neither her on-again-off-again BDSM relationship with a mildly disinterested older dom, nor her nondescript corporate job, appear to bring her any satisfaction.
And yet “she finds a core of poignant truth about the ways people search for … emotional happiness and sexual gratification” (per the Lincoln Center summary). It’s currently at a 100% on Rotten Tomatoes, FWIW. (This bit also made me laugh out loud.)
Letterboxd asked Dune director Denis Villeneuve what his four favorite films were and he cheated and listed five (including 2001 and Blade Runner).
First of all, who knows how long Blade Runner has been on his top 5 (or even 10 or 20 list) but getting to do a sequel of one of your favorite films has to be unbelievably rewarding as a director.1
And I’m going to cheat as well here and list a number of other films that Villeneuve has publicly praised, courtesy of this piece from IndieWire: Vertigo, Children of Men, Downsizing (?), There Will Be Blood, Seven Samurai, The Beguiled, Jaws, and three Nolan films (Dunkirk, Inception, Tenet).
I was trying to think of what might be the equivalent to this for me and all I could come up with is getting hired to reboot Suck or something.↩
Ryan Gosling was on Saturday Night Live this weekend and they did a sequel to one of my favorite SNL sketches (which is completely dorky in a design nerd sort of way) ever: Papyrus. Behold, Papyrus 2:
Avatar spawned worlds, right? Every little leaf of every little flower, every little eyelash of every little creature: thoroughly thought out. But the logo: it’s Papyrus, in bold. Nobody cares. Does James Cameron care? I don’t think so.
A thoughtful video essay from The Cinema Cartography about 15 of film’s greatest documentaries, including The Thin Blue Line, Grizzly Man, The Act of Killing, Shoah, Hoop Dreams, and OJ: Made in America (my personal favorite).
I am not sure I agree with their #1 pick? But it’s been a loooong time since I saw it (in the theater when it came out, if you can believe it), so maybe it’s time for another viewing. (via open culture)
I love a good movie poster and Dawn Baillie designed one of the best ones ever: the iconic poster for The Silence of the Lambs. Her other work includes posters for Dirty Dancing, Little Miss Sunshine, Zoolander, The Truman Show, and The Royal Tenenbaums. A show of her work opens soon at Poster House in NYC. Some of Baillie’s original posters are for sale at Posteritati.
For Ars Technica, science writer Jennifer Ouellette and theoretical physicist Sean Carroll review time travel used in 20 popular movies, ranging from The Terminator to Bill and Ted’s Excellent Adventure to Interstellar. Each movie is rated on scientific accuracy and how entertaining the use of time travel is. Here’s part of their review of Superman (1978).
Our standards are admittedly lax when it comes to the physical mechanism by which cinematic heroes journey through time, but “flying really fast around the Earth so that it reverses the direction of its rotation and sends it back to a previous moment” is such thoroughgoing lunacy that one must almost pause in admiration. Then we return to our senses and ask, “Why does Superman’s flight have any effect on the rotation of the Earth? And what does that rotation have to do with the direction of time? Do I get younger if I start twirling counterclockwise?” No, dear reader, you do not. Indeed, by the rules handed down by Einstein, Superman’s near-speed-of-light journey would actually send him into the future, not into the past.
To its dubious credit, Superman pioneers two different flaws that will frequently recur in movies to come. First, time travel is portrayed as a miraculous cure-all, which is then never used again. Superman essentially goes back in time to save his girlfriend. This is admirable, but aren’t there other, more historically significant global disasters that could be averted by the same strategy? This is a narrative problem, not a scientific or logical one, but it rankles.
Then, of course, there is the flaw that almost always accompanies stories in which the past gets changed by time-travelers: Where did those time-travelers come from? We, the viewers, see a sequence of events that seems to make sense if we don’t think too hard. Lois Lane dies, Superman gets upset, he travels back in time, stops the events that led to Lois dying, and we live happily ever after. But at the end of this sequence, Superman still has the memory of Lois dying the first time around. Yet because he changed history, that event he remembers never happened. Lois certainly doesn’t remember it. How does he?
When the Star Wars films aired in Chile, instead of cutting away from the movie for commercial breaks, the TV station “seamlessly” inserted ads for Cerveza Cristal beer. We’re talking Obi-Wan opening a chest to find a lightsaber for Luke and instead it reveals a ice-chest full of beer. Or the Emperor Force-reaching for a lightsaber and a can of beer flies into his hand. And of course the whole thing has turned into a meme.
From a YouTube channel called The Solomon Society, a pair of videos that some of the most beautiful shots in the history of film. When Denis Villeneuve emphasizes the important of image in film, these are the kinds of shots that he’s talking about.
I haven’t watched this yet, but it’s definitely in my queue: a recording of a livestreamed panel of all the visual effects nominees from this year’s Oscars, talking about their work on those films. I got this from Todd Vaziri, a visual effects artist at ILM, who says:
If you’re at all interested in visual effects, you gotta watch this Academy presentation that took place last weekend. It goes in-depth with all five nominees, and shows before/after material that hasn’t been seen publicly.
The meat of the program begins at around 24 minutes when they start showing visual effects reels from the nominated films (The Creator, Godzilla Minus One, Guardians of the Galaxy Vol. 3, Mission: Impossible – Dead Reckoning Part One, Napoleon), followed by a discussion with the members of the effects teams.
How many times last year did you go to church? How many times did you go to a dinner party? How many times last year did you go to club meeting? In barely a couple of decades, half of all the civic infrastructure in America has simply vanished. It’s equivalent to say half of all the roads in America just disappeared.
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