Word: cinemae
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...Aronofsky has been one of the few American directors whose movies upset the complacency of indie cinema. Pi, Requiem for a Dream and The Fountain were demanding and rewarding in various ways: the first wacko, the second gritty, the third sumptuously romantic, and all marvelously dense with imagery. So the big surprise in The Wrestler is that it's visually inert. Aronofsky's main camera habit is to follow Randy, just his imposing back, as he trudges through corridors toward another fight. (Martin Scorsese virtually patented that shot in Raging Bull and Goodfellas.) The trope does pay off later...
...pictures of cinema's most memorable robots...
...Sheen’s playboy persona but to the film as well. One is hard pressed to find any non-expository dialogue escaping her lips—a rare misstep in an otherwise flawless film.The transition from stage to screen is fraught with pitfalls. A stage play adapted for cinema must expand its scope without losing the intimacy of its original format. Thanks to the expert direction of Ron Howard, and brilliant performances from its cast, “Frost/Nixon” accomplishes this task admirably. The best of cinema is combined with the best of the stage...
...bluish filtering that Dorsky builds through use of internegatives gives each frame an alien, otherworldly quality.“Winter,” the companion piece to “Sarabande,” is a meditation on San Francisco (home both to Dorsky and the Canyon Cinema collective he’s a member of) in winter. The San Francisco winter is a period of rainfall and subsequent rejuvenation—dark, confused, populous, and ready to blossom again. One of its concluding passages explores a bundle of cherry blossom stems wrapped in plastic—one moment among...
...broad continuum of cinema, there are good films and there are bad films. And then there are films that are not only bad—they’re also ethically troubling. “Nobel Son,” a tale of kidnapping, betrayal, and general human brutality, falls squarely into the latter category. The film opens with an exceptionally gory sequence in which a masked man attacks a stranger, knocks him unconscious, and amputates his thumb. Meanwhile, a voiceover declares, “Good and bad are not so absolute.” What follows for the next...