Friday, May 7, 2010

The Film Critic’s Choice


Well it's Friday once again, the weekend is upon us. And as for those of you who still go to the cinema instead of going to the pub, (Unlike me who is unfortunately not going out at all this weekend) could well be deciding on what film to see. If you haven't decided I give you a quick run-down of all the films worth seeing, when close €15 - €20 is on the line you want to get your money’s worth.

Centurion:
Marshall has once again produced a film to entertain the masses due to his excellent casting. In the big picture, Centurion is a gritty, brutal chase movie that’s more about swords than sandals something Marshall might want to re-address when he makes his next film but for the moment we’ll make do.

The Last Song: 
Miley Cyrus is uneven; she can't seem to shake her bad habits of the quirky facial tick’s, but pulls off some of the more emotional scenes towards the end with gusto. She will get further opportunities to impress in more mature roles down the line, which is a good thing, given the final product here.

Iron-Man 2:
If I could give you one reason to go see Iron Man 2, despite all its flaws, its Robert Downey Jr. Whatever is going on screen you can't take your eyes off him; he's funny, likeable, and cocky so crucially, you buy him as an action star. He now owns this role, and I myself am genuinely looking forward to Iron Man 3 but I am a comic book super hero fan so caution is advised.
The Hot Tub Time Machine:
The kind of film you'd watch before heading out on the town to get you in a good mood, comparisons with The Hangover are inevitable; but this is genuinely the funniest film since that comedy juggernaut.

Whip It:
Some might write it off as a chick flick, but those that do will be missing out on a seriously good time. You will want to hang out with these characters after the film has ended - which is a place some TV shows spends years trying to get to. Barrymore is now firmly a directorial talent to watch, and Whip It is a damn fine first film.

Critic’s Choice: If I was picking I would go to Iron-Man 2 everytime but in all honesty, if I had to pick the film that would be worth the cost, it’s Whip It, with the Hot Tub Time Machine coming in second. Whip It is not what is to be expected and avoids the chick flick genre to a great extent and even as Barrymore’s first directorial debut it certainly is a good start. The Hot Tub Machine on the other hand is the kind of film you'd watch before heading out on the town. Both will of course guarantee you’ll leave the Cinema with a smile on your face.

Thursday, May 6, 2010

Dear readers, I'm sorry.

Hello to all of you who have diverted your attention away from more important things, hoping you would find here this weeks 'Dear Someone' but unfortunately I have an art exam tomorrow morning and was unable to find time to do it. I hope your not to disappointed, (Doubtful but you never know). So here it is 'Dear readers, I'm Sorry''

Wednesday, May 5, 2010

The Amateur Filmmakers Guide


Welcome back, come to learn a little more about Filmmaking? It’s ‘The Amateur Filmmakers Guide’ Wednesday where, I a long time amateur filmmaker who has made all the silly mistakes one has to do to get any good , ‘’learn from your mistakes’’ and that old saying. But what if you didn’t have to? What if someone could mark all those pitfalls with a big X, wouldn’t that be pretty handy, no?
If you answered yes to the following then listen up and listen well because if your serious about starting into filmmaking you got to nail the basics otherwise it’s like trying to learn French but not bothering to know the verbs and tenses.
This week we’ll be explaining all the different terminology that those high fluent filmmakers throw about so freely and somehow everyone knows exactly what is to be done and when. Have no fear if you pay close attention you won't be confused any longer!
...And That Means What Exactly?
1.       Animation - The process of photographing drawings or objects a frame at a time; by changing a drawing or moving an object slightly before each frame is taken, the illusion of motion is realized.

2.       Background Music- Music accompanying action on the screen, but coming from no discernible source within the film.

3.       Blocking - The arrangements made for the composition of a scene, especially the placement and movements of actors.

4.       Boom - A long mobile beam or pole used to hold a microphone or camera.

5.       Clip - A brief segment excerpted from a film.

6.       Composition - The placement of people or objects within the frame and the arrangements for actual movements within the frame or by the camera.

7.       Continuity - The narrative growth of a film created through a combination of visuals and sound (resembling the "story" in print literature).

8.       Crane Shot - A shot taken from a boom that can move both horizontally and vertically.

9.       Cross-Cutting (parallel editing) - A method of editing in which the point of view switches alternately from events at one location to those of another related action.

10.   Cut - An individual strip of film consisting of a single shot; the separation of two pieces of action as a "transition" (used when one says "cut from the shot of the boy to the shot of the girl"); a verb meaning to join shots together in the editing process; or an order to end a take ("cut!").

11.   Deep Focus (depth photography) - Keeping images close by and far away in sharp focus simultaneously.

12.   Depth of Field - The area within which objects are in focus; a large depth of field allows a great range of objects to be in focus simultaneously, while a shallow depth of field offers a very limited area in focus.

13.   Dissolve (lap dissolve) - A method of making a transition from one shot to another by briefly superimposing one image upon another and then allowing the first image to disappear.

14.   Dolly Shot - A moving shot taken from a dolly. A Dolly-In moves the camera toward the subject, while a Dolly-Out moves the camera away from the subject. A dolly shot creates a sense of movement through space by capturing changes in perspective.

15.   Double Exposure (superimposition) - Two distinct images appearing simultaneously with one superimposed upon the other.

16.   Dubbing (lip sync) - The process of matching voice with the lip movements of an actor on the screen; dubbing also refers to any aspect of adding or combining sounds to create a film's final soundtrack.

17.   Editing - The process of splicing individual shots together into a complete film. Editing (as opposed to Montage) puts shots together to create a smoothly flowing narrative in an order making obvious sense in terms of time and place.

18.   Editor (cutter) - The person responsible for assembling the various visual and audial components of a film into a coherent and effective whole.

19.   Fade - A transitional device in which either an image gradually dims until the viewer sees only a black screen (Fade-Out) or an image slowly emerges from a black screen to a clear and bright picture (Fade-In).

20.   Fast Motion - (accelerated motion) Movements on the screen appearing more rapid than they would in actual life. For example, a man riding a bicycle will display legs pumping furiously while he flashes through city streets at the speed of a racing car.

21.   Fill Light - Light used to control shadows by "filling in" certain dark areas.

22.   Film Stock - Unexposed strips of celluloid holding light-sensitive emulsions.

23.   Filters - Transparent glass of gelatin placed in front of or behind a lens to control coloration; some filters cut out certain types of light (such as ultra- violet); others create a soft, hazy appearance, and still others provide a dominant color when used with color films.

24.   Fine Cut - The final assembling of all the various audial and visual components of a film.

25.   Fish-Eye - An extreme wide-angle lens taking in (and distorting) an immense area.

26.   Flashback - A segment of film that breaks normal chronological order by shifting directly to time past.

27.   Flash Forward - A segment of film that breaks normal chronological order by shifting directly to a future time.

28.   Flashframe - A shot lasting only a few frames; the shortness of a flashframe makes its content difficult to assimilate.

29.   Focus -Through (racking) - A change of the field in focus taking the viewer from one object to another that was previously out of focus.

30.   Frame - A single photographic image imprinted on a length of film; also the perimeter of an image as seen when projected on a screen.

31.   High-Angle Shot - A shot taken from above a subject, creating a sense of "looking down" upon whatever is photographed.

32.   Intercutting- The alternation between actions taking place at two distinct locations to make one composite scene.

33.   Jump Cut - An instantaneous cut from one action to another, at first seemingly unrelated, action. Jump cuts will usually call attention to themselves because of the abrupt change in time and/or place.

34.   Key Light - The primary source of illumination.

35.   High-Key - light brilliantly illuminates a set;

36.   Low-Key - light provides dim lighting, usually with heavy, dark shadows.

37.   Library Shot - (stock shot) Any shot not taken for a particular film but used in it.

38.   Local Music - Music originating within a scene and audible to both the characters in the film and the audience.

39.   Location - A place outside-the studio where shooting occurs.

40.   Low-Angle Shot - A shot taken from below a subject, creating a sense of "looking up to" whatever is photographed.

41.   Mask - A device placed in front of a lens to reduce the horizontal or vertical size of the frame or to create a particular shape (for example, periscope eyepiece, binoculars, or gun-sight).

42.   Match Cut - A cut intended to blend two shots together unobtrusively (opposed to a Jump Cut).

43.   Matte Shot - A process for combining two separate shots on one print, resulting in a picture that looks as if it had been photographed all at once.

44.   Mix - The process of combining all sounds at their proper levels from several tracks and placing them onto a master track.

45.   Montage - (dynamic editing, expressive montage, conditional montage) A method of putting shots together in such a way that dissimilar materials are juxtaposed to make a statement.

46.   Negative Image - An image with color value reversed from positive to negative, making white seem black and black appear white.

47.   Nonsynchronous Sound - Sound that combines sounds from one source with visuals from another.

48.   Objective Camera - The attempt to suggest that the camera acts only as a passive recorder of what happens in front of it.

49.   Out-Take - A take that is not included in the final version of a film.

50.   Pan - A shot in which a stationary camera turns horizontally, revealing new areas.

51.   Perspective - The way objects appear to the eye in terms of their relative positions and distances.

52.   Process Shot - A shot coordinated with another image created by Rear Projection, making the resulting picture look like a single simultaneous shot.

53.   Reaction Shot - A shot showing one or more characters reacting to an action or statement.

54.   Reverse Angle Shot - A shot of an object or person taken in the direction opposite that of the preceding shot

55.   Rushes - (dailies) The lengths of footage taken during the course of filming and processed as the shooting of a film proceeds.

56.   Scenario (See Script) - Scene A series of Shots taken at one basic time and place. A scene is one of the basic structural units of film.

57.   Script - (scenario, shooting script) - A written description of the action, dialogue, and camera placements for a film.

58.   Sequence - A structural unit of a film using time, location, or some pattern to link together a number of scenes.

59.   Shooting - Ratio The ratio in a finished film of the amount of film shot to the length of the final footage. Shot, a single uninterrupted action of a camera as seen by a viewer (see Take). Shots are labelled according to the apparent distance of the subject from the camera: extreme long-shot (ELS) also called an establishing shot; long-shot (LS); medium long-shot (MLS); medium or mid-shot (MS); medium close-up (MCU); close-up (CU); and extreme close-up (ECU). Although distinctions among shots must be defined in terms of the subject, the human body furnishes the usual standard of definition: ELS, a person is visible but setting dominates; LS, person fills vertical line of the frame; MLS, knees to head; MS, waist up; MCU, shoulders up; CU, head only; ECU, an eye.

60.   Slow Motion - Movements on the screen appearing slower than they would in actual life.

61.   Soft Focus - A slightly blurred effect achieved by using a special filter or lens, or by shooting with a normal lens slightly out of focus.

62.   Still - A photograph taken with a still (versus motion) camera.

63.   Storyboard (continuity sketches) - A series of sketches (resembling a cartoon strip) showing potential ways various shots might be filmed.

64.   Subjective Camera - Shots simulating what a character actually sees; audience, character, and camera all "see" the same thing.
65.   Swish Pan - A quick pan from one position to another caused by spinning the camera on its vertical axis and resulting in a blurring of details between the two points.

66.   Take - A single uninterrupted action of a camera as seen by a filmmaker. A take is unedited footage as taken from the camera, while a shot is the uninterrupted action left after editing.

67.   Telephoto Lens (See Long Lens) - A lens with an extremely long focal length capable of making distant objects appear nearer and thus larger.

68.   Tilt Shot - A shot taken by angling a stationary camera up (tilt-up) or down (tilt-down).

69.   Tracking Shot (traveling shot, trucking shot) - Any shot using a mobile camera that follows (or moves toward or away from) the subject by moving on tracks or by being mounted on a vehicle.

70.   Trailer - A short segment of film that theatres use to advertise a feature film.

71.   Trucking Shot - Any moving shot with the camera on a mobile mounting, but chiefly a moving shot taken with a camera mounted on a truck.

72.   Two Shot - A shot of two people, usually from the waist up.

73.   Voice-Over - Any spoken language not seeming to come from images on the screen.

74.   Wide-Angle Lens - Any lens with a focal length shorter than normal, thus allowing a greater area to be photographed.

75.   Wipe - A transitional device in which one image slowly replaces another by pushing the other out of the way.

76.   Zoom Freeze - A zoom shot that ends in a freeze frame.

77.   Zoom Shot - A shot accomplished with a lens capable of smoothly and continuously changing focal lengths from wide-angle to telephoto (zoom in) or telephoto to wide-angle (zoom out).

Conclusion
I know, 77 is an odd number of tips to give but at least I’m not lying when I say that they’re all necessary to know if you want a basic understanding of filmmaking. Don’t kid yourself in thinking that this is all there is to film terminology because you would be seriously wrong, this is the bare bones of a rather deep and elusive field but with a little persistence you’ll get there. Join me next week for ‘’Filmmaking: So, what do I need?’’ as I go through the bare essentials for filming your first short feature.
Competitions For Young Filmmakers And Film
You could be the Cinemagic Young Film Critic of the Year. To enter the competition all you have to do is send a film review (not more than 500 words) on one of the films screened during Cinemagic 2010. There are a number of wonderful prizes to be won.

As part of Cinemagic Dublin we will be programming a short film competition that will see a young jury reviewing and critiquing new films from all over the world.

Tuesday, May 4, 2010

The Big Tuesday Night Review


Alright everyone, let’s quit the chit chat and get down to business. Under the microscope this week; the new film release, Iron Man 2 this Summers big block-buster movie. Three DVDs I think would be best when curling up and chilling out on a Friday or Saturday night and if that’s a little too expensive you can find out what film I deem the best of what happens to be on TV that night as well. Up first though it’s:
The Film Review
Iron Man 2
Iron Man 2 is a film I have been thoroughly looking forward to since the first Iron man, (Ignore these comments in the brackets, it’s just my comic book fan like nature shining through) Robert Downey junior’s quick witted cynicism and outright Playboy-esque attitude make him the guy every male teenage boy wants to be when their older. But however in Iron Man 2, Superhero Tony Stark (Downey Jr.) appears to be having the time of his life, but secretly he’s starting to crack from the strain of a mysterious malady. Meanwhile, depraved Russian Ivan Vanko (Rourke) is plotting to annihilate Tony, under the name of super-villain Whiplash (Appropriately named if I say so myself).

The first Iron Man, a film only anticipated by those fans of the comic book world (Me included) arrived in cinemas overwhelmed by the hot favourite summer block-busters of that year — After all, It was a low budget superhero movie from the director of Zathura (You probably don’t even know what that is), starring Zodiac’s third lead — and yet, here we sit waiting anxiously for its sequel. Robert Downey Jr. is, for the first time in his 40-year career (That’s too long to be considered a nobody in my eyes), a giant star, and now the lead role in Guy Ritchie’s Sherlock Holmes. And here comes the sequel, hotly awaited as one of the year’s biggest releases, with Favreau hitting all the right chords the action franchise is sure to expand drastically from here. Even its expanding cast is proof of this already.

Like all sequels; someone gets upset because someone else indirectly killed or destroyed all that they hold dear and love and it’s time to seek revenge, just like Iron Man 2. But, unlike those films, the thought and process of revenge is rather entertaining. Although there’s parts of dark drama here: when we meet Tony, he’s hiding from everyone the fact he’s being gradually poisoned by his suit; villain Ivan Vanko (Mickey Rourke) is hell-bent on avenging crimes he felt were committed against his father; and Jim Rhodes (Don Cheadle) is considering betraying Stark by teaming with rival arms dealer Justin Hammer (Sam Rockwell). But Jon Favreau avoids going to serious with the whole story in a film about a millionaire playboy who is a super-hero with his high-tech flying suit. And with that Favreau lightens the mood from time to time focusing on gyrating cheerleaders and gleaming tech over inner conflict.
Iron Man 2 Official Trailer

Not that there’s anything wrong with entertainment. I just wished Favreau had made us question Starks survival throughout the film a bit more. The movie’s most memorable scene, Vanko launches an attack on his arch-nemesis at a Grand Prix race track, twirling twin whips that sizzle with electricity. As he effortlessly slices up cars and advances, cackling, on a suitless and scared Stark, it actually feels like there’s something at stake, that our hero is unsure of what to do, we even fear his downfall. However it’s a feeling that’s sadly absent for the majority of the time. The finale could well be particular let down, a fleshed out re-run of the last film’s final scene, in which single expression metal men play what feels like a . (I loved it; nothing beats a good smash up)

But even though we’re left emotionally at a loss, there’s still plenty of charisma. When he’s out of the suit – and Favreau has the good sense to keep him out of the metal mankini for as long as is superhumanly possible – Downey Jr. continues to be unstoppably likeable. Rourke on the other hand does his damn best to create the weirdest villain one could possibly do during his screen time and Sam Rockwell could be said to have stolen the show as Hammer, if it wasn’t for the fact he falls short on every level to Stark.

As for Johansson, well besides demonstrating her gymnastic chops ( I mean skin tight costume for eye candy) When in a hand to hand combat sequence with a great punchline, however she is no villain we all assumed and neither is she quite the hero more a poster girl for The Avengers (due in 2012 as it stands). And although it’s nice to see cameos of future marvel film heroes it weighs down and takes up time which this film badly needed to create a more dynamic story (It’s still class!), But all in all I have no qualms with the numerous teasing references for films about Captain America and Thor or a one-eyed Samuel L. Jackson turning up halfway through as Nick Fury when I get to see Johansson in a cat suit (I mean, it’s skin tight).

All in all the result is another summer block-busting-million-dollar-making-movie from Favreau which will of course lead to an Iron Man 3 (Or at least I’m praying it does) and with Rourke and Rockwell making satisfying, complementary villains, and Downey Jr. delivering yet another eye-catching performance it’s hard to see why a third film would be out of the question. It is however a shame this sequel feels inessential, kind of tagged on as a money maker, it’s weighed down with unnecessary publicity cameos, and well, it’s all a bit mechanical. Nothing they can’t put right for Iron Man 3, eh?


The DVD Choices of the Week 
        -      Paranormal Activity (15)
        After hearing a series of unearthly noises in their suburban San Diego home, young couple Katie (Featherson) and Micah (Sloat) get their hands on a camcorder to catch the perpetrator. As each night passes, the bangs get louder, the footsteps get closer and Katie reveals a terrible secret...

An Amityville for the YouTube age: potent, primal and genuinely frightening.


-          The Box (12A)
When a mysterious stranger deposits a box at the door of married couple Arthur (James Marsden) and Norma (Cameron Diaz), they are presented with a stark choice. Do they press the button and receive $1 million, in the knowledge that doing so, someone, somewhere will die?

Limited appeal and Many will be perplexed. But Donnie Darko fans should lap it up. 
  
-       Dr. Strangelove: How I Learned To Stop Worrying and Love The Bomb

        When a US Air Force colonel goes completely mad and launches a nuclear attack on the USSR. Since the Soviets previously announced a "Failsafe" device that will launch all their missiles if there's an attack on their soil, this could mean that World War III will kick off. The US president and his generals try to stop the bomb.

Re-released on DVD, this satirical comedy gold, featuring Peter Sellers' finest three performances you’ll ever see in one film to humourless Kubrick’s dismay definitely worth the watch.

The TV Film choices For Friday/Saturday
Friday 7th May
-          Jaws – TV3, 22:00
(1975, Suspense thriller) A New England seaside town's tourist season is turned into a nightmare by a giant killer shark. The local police chief teams up with a grizzled fisherman and a marine biologist to hunt and kill the monster predator. Steven Spielberg's thriller, starring Roy Scheider, Richard Dreyfuss and Robert Shaw.

-          Kiss The Girls – More4, 21:00
(1997, Detective/Thriller) A forensic psychologist hunts for a psychopathic serial kidnapper prowling a university campus and responsible for his niece's disappearance. Working out of his jurisdiction, he defies local law enforcement officials to get to the truth - with the aid of one of the criminal's past victims, a headstrong doctor determined to see her former captor brought to justice. Thriller, starring Morgan Freeman, Ashley Judd, Cary Elwes, Tony Goldwyn and Jay O Sanders.

Saturday 8th May
-          Cinderella Man – RTÉ2, 21:00
(2005, General Movie/Drama) A boxer's career is cut short by a hand injury, and with the onslaught of the Great Depression he struggles to provide for his wife and family. Desperate to make ends meet, he begs his former trainer for another shot at the big time, and is finally given the chance to take on the heavyweight champion of the world. Ron Howard's drama, based on real-life events, starring Russell Crowe, Renee Zellweger and Paul Giamatti.

-          Full Monty – E4, 21:00
(1997, Comedy) Six unemployed Sheffield steelworkers struggling to make ends meet decide to become strippers for one night only in a bid to raise some extra money. However, with no dancing experience and far from perfect physiques, the men are relying on the unique selling point of complete nudity to impress the punters. Comedy, starring Robert Carlyle, Mark Addy, Tom Wilkinson, Hugo Speer and Paul Barber.

-          Phone Booth – E4, 22:45
(2002, Detective/Thriller) An arrogant PR executive answers a public phone and the caller on the other end warns him that if he hangs up he will be shot. The mysterious gunman then puts his target through a series of mind games, as well as incriminating him in the death of a bystander. Thriller, starring Colin Farrell, Katie Holmes and Forest Whitaker, with Kiefer Sutherland providing the voice at the end of the line.

Monday, May 3, 2010

The Monday Night Quiz


Another Monday and another quiz but. This week its ‘Mr. X’, the quiz is simple, from the list of ten hints you have to guess who I am talking about, male or female, got it?  Place your answers and the hint number you got it on as a comment. The objective is, obviously, to guess the answer in the least amount of Hints. There hints do not vary in difficulty they’re just facts, simple as that. You should by right get the correct answer after the tenth hint Good luck!

1)      X was born May 1st 1969.

 

 

 

 


2)      X Studied Philosophy at the University of Texas at Austin, where X met Owen Wilson.








3)      X has frequently been referenced as a cinematic auteur, as X is involved in every aspect of X’s film.








4)      X’s has produced two Short films and seven feature length films.






5)      Filmmaker Martin Scorsese is a big fan of X.

 

 

 

 

 


6)      X ends all but one of X’s movies with a slow motion shot.









7)      X was nominated for a 2001 Academy Award for Best Original Screenplay.









8)      In 2008, X teamed up with Brad Pitt for a commercial for Japanese cell phones.









9)      X’s films feature many of the same actors, crew members and Collaborators; Bill Murray, Willem Dafoe, Seymour Cassel, Angelica Huston, Jason Schwartzman, Michael Gambon.









10)   X's latest feature film is a stop-motion animation which was released in 2009


Google search is not allowed and no aids of any kind, and although I obviously can’t stop you, you will be lying to yourself (I couldn’t care less) and a film buff you are not. The answers will be revealed next Monday night quiz.