J.J. Abrams (the writer) – like Gene Roddenberry and Stanley Kubrick – uses the science fiction genre as a medium to showcase how humans can better understand each other and their emotions. The trailer for Super 8 features a spectacular train wreck and although that scene is the most violent of the entire film, it is more harmless and generic than it is spectacular. The extra-terrestrial on the loose in the small Ohio town is a textbook example of a MacGuffin and although its true nature is slowly revealed throughout the film, it still receives far too much camera time. Like …
The Tree of Life
Existentialism on film is a risky proposition: while the theme can be incorporated throughout different types of scenes, it is challenging to construct a conclusion that does not ring hollow. Terrence Malick’s The Tree of Life debates the meaning of life well, combining a unique method of storytelling with stunning visuals, but wanders slightly into the realm of cliché as it reaches its climax. Juxtaposing concrete scenes of life with abstract visions of creation, real-life moments and natural metaphors, Malick captures the attention of the audience without overwhelming them. On one hand, life is precious and fleeting but on the …
Kubrick Retrospective
The works of Stanley Kubrick are innovative and insightful. Kubrick followed an esoteric career path, seemingly trying to master each major film genre – noir, war, science-fiction, period drama, horror, erotic thriller – while exploring what defines humanity. Many of the films are criticized for their length and lack of action; on the other hand, the pacing adds impact to the climactic scenes. Dr. Strangelove, or: How I Learned to Stop Worrying and Stop the Bomb: Incorporating elements from many war films, such as archetypal characters with a cynical twist, Dr. Strangelove portrays how the military handles a critical situation …
Synecdoche, New York
“The visible world is no longer a reality and the unseen world no longer a dream.” – W.B. YeatsSynecdoche, New York, starring Philip Seymour Hoffman and directed by Charlie Kaufman opened to mixed reviews this past weekend. I thought it was a good film. Kaufman’s directorial debut delves into death, divorce, and decay. The protagonist, Caden Cotard, a struggling director in Schenectady, New York reads the obituaries of different friends in the newspaper as September turns into November in a single morning. Eventually, Caden’s wife leaves him and he becomes paranoid about his health. He receives an apparently unlimited grant …