THE FOX AND THE CHILD is the latest film from MARCH OF THE PENGUINS filmmaker Frenchman Luc Jacquet. The movie, which boasts just one human being in its cast, young actress Bertille Noël-Bruneau, tells the story of the rather rare, though seemingly believable relationship between a child and a wild fox.
Part-nature documentary, and part-fairy tale, the film focuses on L'Enfant, the child, who on her way to school one day comes across the path of a wild fox in a picturesque setting, possibly France, though the exact location is never mentioned. Over the coming weeks the child revisits the place where she found her fox hopeful that one of said days she will see said fox, who she begins to call Lily, once again. And so it goes on. Days turn to weeks, and then the summer disappears, turning to fall and then winter, prompting some superb cinematography of the sweeping, white winter landscape. Eventually, spring comes around again, and the young child finds her fox, and indeed does strike up a friendship with the animal. And so on.
I had little to no expectation for THE FOX AND THE CHILD. I had seen MARCH OF THE PENGUINS and was simply in awe at the film-making contained in that movie. Luc Jacquet is a hugely talented, and indeed rare film-maker, and I was expecting some superb, breathtaking cinematography, sweeping vistas and brilliant footage of the wildlife. This was delivered in spades. But here Jacquet has a screenwriting credit, and not knowing anything about the movie prior to the screening, I expected something a little different than what had previously been seen in 'March'. A fictional story.
The child and the fox
And the story is simple. A young, seemingly lonely child lives in a house in the middle of nowhere and walks to school, seemingly on her own, every day, seemingly without a care in the a seemingly perfect world. Without the hint of an adult in sight. Brilliant. So she strikes up a friendship with a fox.
With a film like this, you have to dismiss your own opinion of the movie and put yourselves in the shoes of the target audience. This is a film which is aimed directly at children from the age of, I'd say, six and up. Or to families who fancy a trip to the cinema with their breed one wet Sunday afternoon. Not a 31-year-old male who gets his kicks from films like the recent, brilliant WANTED and the like. But, me being the newbie London critic, I put myself in the shoes of an excited eight-year old girl for the 95 or so minutes of THE FOX AND THE CHILD. Now, I have a few problems with this film. As a 31-year-old lad, and loyal lover of all things cinematic, I loved the wildlife and landscape photography. It's visually stunning. The direction of the animal characters is brilliantly executed -- as good as you will find on any of Attenborough's efforts. As an impressionable, short attention spanning eight year old, I loved about the first half hour -- then I lost interest. It's a little repetitive and in places quite harrowing and bloody scary for a younger child, particularly the rather dark ending. As a 31-year-old male -- I was a little frightened in places. Wuss.
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Tuesday 29 July 2008
Marvel's The Incredible Hulk 2008 Review - Download The Incredible Hulk Full Movie
Fans of Marvel Comics movies are lining up outside cinemas everywhere by now to get their hands on movie tickets to feast their eyes on "The Incredible Hulk" movie. When it comes to these Marvel movies, I have enjoyed them enough in the past to tell that the crowd queuing outside the ticket booths will be humongous! How to download The Incredible Hulk full movie?
Unlike the previous Hulk movie directed by Taiwanese director extraordinaire Ang Lee (of "Crouching Tiger Hidden Dragon" fame), 2008's "The Incredible Hulk" movie is helmed by director Louis Leterrier, writer Zak Penn and stars Edward Norton as Bruce Banner as well as other famous names like Liv Tyler and Tim Roth as the main villain.
The movie begins after the infamous incident in which a reputable scientist called Bruce Banner accidentally turned himself into a gargantuan green monster whenever he blows his top. He's mean and he's green, but not wanting to cause untoward calamity to the public, he took a Sabbatical in Brazil in a bid to cure himself and rid the inner beast. Alas, his arch nemesis General Thaddeus can not seem to leave him alone and decide to track him down in order to gain his unlimited strength and power.
What will happen to Banner, and will the Hulk be eradicated from his body forever? Can Banner continue his relationship with the delightful Betty Ross (played by the lovely Liv Tyler) even when he is besieged with enemies trying to use and abuse him?
Even as we speak, I am getting more excited but alas, if you cannot obtain good tickets to "The Incredible Hulk", don't fret. All you need to do is download The Incredible Hulk full movie but don't just do so at any Tom, Dick and Harry's site! It won't help if you typed "free movie download" in Google and hope that the first site you visit is the best. To enjoy uninterrupted download The Incredible Hulk full movie you should be careful and select good movie download sites.
Never EVER choose a cheesy looking movie download site with annoying advertising banners and pop ups proclaiming that they can download The Incredible Hulk full movie for FREE. Nothing good in this world is free, but there are other reputable sites that will offer the service to download movies with minimal fee and no risk.
They will never cause your PCs to be virus-ridden or be plagued with irritating malware, spyware and adware. Movies provided are of great quality and sometimes, most dependable websites also offer MP3 and game downloads for value added service, you are also given right to burn to DVD for your own use. Still want to spend your hard earned dollars on DVDs?
Unlike the previous Hulk movie directed by Taiwanese director extraordinaire Ang Lee (of "Crouching Tiger Hidden Dragon" fame), 2008's "The Incredible Hulk" movie is helmed by director Louis Leterrier, writer Zak Penn and stars Edward Norton as Bruce Banner as well as other famous names like Liv Tyler and Tim Roth as the main villain.
The movie begins after the infamous incident in which a reputable scientist called Bruce Banner accidentally turned himself into a gargantuan green monster whenever he blows his top. He's mean and he's green, but not wanting to cause untoward calamity to the public, he took a Sabbatical in Brazil in a bid to cure himself and rid the inner beast. Alas, his arch nemesis General Thaddeus can not seem to leave him alone and decide to track him down in order to gain his unlimited strength and power.
What will happen to Banner, and will the Hulk be eradicated from his body forever? Can Banner continue his relationship with the delightful Betty Ross (played by the lovely Liv Tyler) even when he is besieged with enemies trying to use and abuse him?
Even as we speak, I am getting more excited but alas, if you cannot obtain good tickets to "The Incredible Hulk", don't fret. All you need to do is download The Incredible Hulk full movie but don't just do so at any Tom, Dick and Harry's site! It won't help if you typed "free movie download" in Google and hope that the first site you visit is the best. To enjoy uninterrupted download The Incredible Hulk full movie you should be careful and select good movie download sites.
Never EVER choose a cheesy looking movie download site with annoying advertising banners and pop ups proclaiming that they can download The Incredible Hulk full movie for FREE. Nothing good in this world is free, but there are other reputable sites that will offer the service to download movies with minimal fee and no risk.
They will never cause your PCs to be virus-ridden or be plagued with irritating malware, spyware and adware. Movies provided are of great quality and sometimes, most dependable websites also offer MP3 and game downloads for value added service, you are also given right to burn to DVD for your own use. Still want to spend your hard earned dollars on DVDs?
Rapunzel Is Disney's Latest Groundbreaking Movie
What's new on the horizon for Disney? Judging by the tremendous amount of buzz surrounding both Bolt, set for release in 2008, and Rapunzel, set for a Christmas 2010 release, Disney is poised for greater glory. Both films are breaking new ground in the realm of animation and both are enjoying a new cultural hunger for fantasy and entertainment. Indeed, many believe these films could spark the next Disney Renaissance. Whereas Bolt is an original story, Rapunzel, of course, sees Disney revisiting the familiar realm of the fairy tale. Upon its release, it will become the 49th film in Disney's animated feature canon.
The original plot of Rapunzel, according to inside sources, dealt with two real-world lovers who are transported into a fairytale realm. The two lovers are soon set-up by a witch who has come to despise happy endings. This version of the production was halted in 2004 for various reasons. Glen Keane, the co-director of the project, promised the new version of the film will be an unabashed animated fairy tale, thereby jettisoning the old real-world plotline.
Disney hopes to get back to its animation roots, despite the fact Rapunzel will be predominantly a computer-generated feature. There is talk that Disney will allow the Pixar sub-division to take the reigns on all future computer animation features, allowing the Disney Animation Studios to return to their signature hand-drawn animated style.
Speaking of Rapunzel, Keane notes, ?It?s a story of the need for each person to become who they are supposed to be and for a parent to set them free so they can become that. It will be a musical and a comedy and have a lot of heart and sincerity. I think that?s what Disney needs to do right now. No one else can do it. We should not be embarrassed or making excuses for doing a fairy tale.? He acknowledged the visual style of the film will be in line with the look of Jean-Honore Gragonard?s ?The Swing.? The Rococo piece inspired Keane to get the studio to return to a traditional hand-drawn methodology.
Upgrades in computer technology have changed the basic principles used in traditional animated features. There is now something like a new middle ground in animation. Keane explains he has been actively trying to "bend its knee to the artist" rather than allowing the computer to dictate the terms of creation and expression. Though the film will be made with computers, Rapunzel will resemble an oil painting on canvas. Keane states, "There's no photoreal hair. I want luscious hair, and we are inventing new ways of doing that. I want to bring the warmth and intuitive feel of hand-drawn to CGI."
Rapunzel promises to be a remarkable return the classic storylines and animation that put Disney on the cultural map. We can only hope its lush animation will deepen the landscapes of storytelling, fairy tale or not. Look for it in 2010!
The original plot of Rapunzel, according to inside sources, dealt with two real-world lovers who are transported into a fairytale realm. The two lovers are soon set-up by a witch who has come to despise happy endings. This version of the production was halted in 2004 for various reasons. Glen Keane, the co-director of the project, promised the new version of the film will be an unabashed animated fairy tale, thereby jettisoning the old real-world plotline.
Disney hopes to get back to its animation roots, despite the fact Rapunzel will be predominantly a computer-generated feature. There is talk that Disney will allow the Pixar sub-division to take the reigns on all future computer animation features, allowing the Disney Animation Studios to return to their signature hand-drawn animated style.
Speaking of Rapunzel, Keane notes, ?It?s a story of the need for each person to become who they are supposed to be and for a parent to set them free so they can become that. It will be a musical and a comedy and have a lot of heart and sincerity. I think that?s what Disney needs to do right now. No one else can do it. We should not be embarrassed or making excuses for doing a fairy tale.? He acknowledged the visual style of the film will be in line with the look of Jean-Honore Gragonard?s ?The Swing.? The Rococo piece inspired Keane to get the studio to return to a traditional hand-drawn methodology.
Upgrades in computer technology have changed the basic principles used in traditional animated features. There is now something like a new middle ground in animation. Keane explains he has been actively trying to "bend its knee to the artist" rather than allowing the computer to dictate the terms of creation and expression. Though the film will be made with computers, Rapunzel will resemble an oil painting on canvas. Keane states, "There's no photoreal hair. I want luscious hair, and we are inventing new ways of doing that. I want to bring the warmth and intuitive feel of hand-drawn to CGI."
Rapunzel promises to be a remarkable return the classic storylines and animation that put Disney on the cultural map. We can only hope its lush animation will deepen the landscapes of storytelling, fairy tale or not. Look for it in 2010!
Wednesday 16 July 2008
Artists Biographies on Film: Top Movies about Visual Artists
Visual artists biographies is a popular theme in the movie world. Moviemakers have always been fascinated by visual artists biographies, especially if it includes struggle with insanity, drug addiction or social conventions. In addition, it gives them an opportunity to depict original or resurrected artworks on the big screen.
Here you can read about some of the most interesting movies about visual artists biographies.
Lust for Life directed by Vincente Minnelli in 1952
Vincent Van Gogh biography had gained several cinematic adaptations. Lust for Life with Kirk Douglas as the struggling artist is one of the most notable. The movie is based on a best selling book by Irving Stone, who also authored The Agony and the Ecstasy about Michelangelo, which also had appeared on the silver screen.
If you are a fan of Van Gogh artwork, you would enjoy watching Last for Life, which features almost 200 of Van Goghs original paintings. However, if you are familiar with Kirk Douglas previous filmographic, seeing him as a tortured Dutch painter might take a little adjustment. Another recommended film about Van Gogh is Robert Altmans Vincent and Theo from 1990.
Surviving Picasso directed by James Ivory in 1996
Like Van Gogh, Pablo Picasso image made him an iconic figure outside the artistic circles. While Van Gogh symbolizes the self destructive, manic depressive artist who achieves success only after his death, Picasso represents the misanthropic and womanizer artist. Picasso infamous relationship with women is the focus of this Merchant and Ivory film. The story is told from the eyes of Picasso mistress Francoise Gilot and features only reproductions of Picasso works. With Anthony Hopkins talent and his physical resemblance to Picasso, Surviving Picasso manages to create an unflattering portrait of an artist as a cruel, self centered genius.
Girl with Pearl Earring directed by Peter Webber in 2003
Comparing to Van Gogh and Picasso, Vermeers biography is less known and less controversial. Therefore Girl with Pearl Earring is much more restrained and delicate. The movie focuses on a short period in Vermeers life in which he was painting the portrait of his young low class maid. Although Girl with Pearl Earring does not avoid filmic conventions by over dramatizing Vermeers painting process, the movie is worth watching if only for its artistic design, which success in evoking Vermeers perception of light and color.
Basquiat directed by Julian Schnabel in 1996
The most common critique against movies that deals with visual arts is the way they depict the creation process. Therefore, there were big expectations from Basquiat, which was directed by the celebrated painter Julian Schnabel. Schnabel did well in depicting Jean Michelle Basquiat rise and fall story in less the predictable manner we have seen millions time before. However, the only reason to watch Basquiat is David Bowie plays the role of Andy Warhol.
Frida directed by Julie Taymor in 2002
Like most of the visual artists who had their life story appear on the silver screen, Frida Kahlo carried an unusual biography, which includes bus accident, problematic marriage, and an affair with Leon Trotsky. Like Van Gogh, Picasso and Jackson Pollock, who was the subject of a biopic from 2000, Frida Kahlo was an icon long before Frida was released, but the 123 minutes film did help to strength her position as a feminist idol and probably the most famous woman painter of the 20 century. Frida tries its best to integrate Frida Kahlo life story with her painting and the result is very colorful and pleasant, but still does not stay far enough from the conventions of depicting artists on film.
The toy of the film, or the film of the toy?
How movies and TV shows have come to dominate the toy market
It’s impossible to ignore how today’s toy market has come to be ruled by films and television programmes. From action figures to bicycles, soft toys to dressing-up clothes, the vast majority of kids’ toys and games these days are tied in with the likes of Darth Vader, Jack Sparrow, or Dora the Explorer. And if existing toy ranges want to compete, there’s only one thing for it – make their own movie! Transformers, Bratz, and Masters of the Universe are all lines of toys that have received the movie-star treatment, with more to come. But when did this relationship between toys and films begin, and how did it get so big?
A brief history of movie merchandising
The first notable production of a toy based on a film is still popular, and instantly recognisable around the world, today. In 1928, Walt Disney created the character of Mickey Mouse, who was an instant hit on the silver screen. Two years later, the first stuffed Mickey Mouse dolls were on sale, beginning a successful tie-in that has lasted almost eighty years. From Snow White onwards, successful toy ranges were produced to accompany Disney’s feature films. Other popular cartoon producers followed suit, licensing toys and other merchandise to cash in on the popularity of their characters.
In 1952, Mr Potato Head became the first toy to be advertised on television, netting over four million dollars in his first year on the market. Mr Potato Head would later experience a revival after his appearances in Disney’s Toy Story movies, which rejuvenated sales for several classic toy ranges. These days, Mr Potato Head continues to follow movie trends, and can be purchased with Darth Vader and Spiderman outfits, amongst others.
In the 1960s, a line of dolls were manufactured, based on US TV show The Lieutenant. Called GI Joe, this range of figures were instantly successful in the US, and are still popular there and in other parts of the world to this day. Other television and film series, including Batman and James Bond, had great success with merchandising spin-offs aimed at children.
The explosion in toy and movie tie-ins
But the relationship between film and toy was taken to a whole new level in 1977, with the release of the movie Star Wars. The film’s creator and director, George Lucas, shrewdly realised that the heroes, villains, monsters and spaceships that populate the movie, lent themselves effortlessly to the toy market. Kenner’s range of Star Wars figure and toys came to dominate the toy industry for years to come, and original items of Star Wars merchandise are now highly sought after collectibles which can fetch a high price.
Toys start starring in their own movies
The massive success of Star Wars toys showed toy manufacturers just how important television and the cinema could be in marketing toys to children (and their parents). The 1980s saw an explosion in this style of toy merchandising, especially in the world of TV. In the early ‘80s, He-Man and the Masters of the Universe became the first cartoon series to be based on a range of toys, rather than the other way around. This technique led to huge sales of the toys, and led to a spate of toy-related TV shows and movies based on toy ranges, including Care Bears, My Little Pony and Thundercats. In 1987, He-Man got his own movie, called Masters of the Universe, with Dolph Lundgren portraying the plastic action figure.
This was the start of a trend which would lead to the blockbuster movie Transformers in 2007, the biggest film so far to be entirely based on a range of toys. Another Masters of the Universe movie is in production, with a bigger budget than the original and the benefit of modern special effects techniques. The advent of CGI makes it much easier for filmmakers to recreate the world of toys on the big screen, and much loved toy ranges like Thundercats and GI Joe have films in the early stages of development.
Film and toy tie-ins are here to stay
Some may argue that such collaborations are cynically exploiting the “I want that” syndrome in the modern child. But it can also be said that the relationship between films and toys encourages imagination, story-telling, and creative development in children. After all, once the movie is over, children can continue the adventure at home, deciding for themselves how the story continues.
Review of 'Alvin and the Chipmunks'
Alvin and the Chipmunks (PG)
Released: 21st December 2007
Director: Tim Hill
Starring: Jason Lee, David Cross, Justin Long, Cameron Richardson
One of the multitude of Christmas offerings for the tiny people who live among us, Alvin and the Chipmunks is a modern CG/live action “re-imagining” of the classic singing critters first created by American songwriter Ross Bagdasarian. Many may remember them fondly from the cartoon series’ of the 60’s and 80’s, but if you’re hoping that this film will provide your own offspring with the same warm fuzzy feelings you remember from all those years ago I’m sorry to say you’ll be sorely disappointed.
For a start these chipmunks are not drawn they are computer generated. While there is much to be said for modern computer animation and its place in cinema these pixelated rodents are an advert for some of what is worst about the medium. The vague attempts at anthropomorphising the trio end up with something that looks more eerie than cutsie. Also, while children might be able to buy in to the idea that these little guys are really really in that kitchen, your average adult viewer will always feel a sense of disconnection from the action.
Personality wise the titular creatures are not as annoying as you might presume. Although they never really go so far as to endear themselves, their faux street-wise attitude combined with a childish understanding of the world is, at least initially, appealing. As far as un-imaginary actors go there is a little more hope. Jason Lee is tasked with holding things together for the first half of the film and does a passable job with what he is given script-wise. However you can’t help but notice an undercurrent of embarrassment in some scenes.
David Cross, on the other hand, provides the majority of the movies highpoints. His music mogul exaggerations and deadpan efforts to be down-with-the-kids are regularly hilarious. Heart achingly once the film lurches into its second half and story carrying duties are passed onto Cross the hilarity grinds to a halt. Cross, now devoid of opportunity for comedic improvisation, is left to wrestle his average acting talents around a frankly awful script. He quickly loses any goodwill he might have built up in the first 30 minutes.
The story itself is a morality tale about the evils of the modern recording industry and a parable for the good ol’ American family unit (albeit a unit made up of one unemployed musician and three talking furballs). Arriving in Dave’s (Lee) house they proceed to cause no small amount of mayhem and are duly cast back out onto the street. However when Dave discovers their hidden singing talents he quickly becomes surrogate father on the condition that they sing the songs he writes. Entranced by the warbling woodland creatures the morally questionable record company head Ian (Cross) signs them up immediately; while putting into action his own dastardly plan to claim the chipmunks for himself. While this might sound OK on paper, when it comes down to it this really isn’t interesting or well executed enough to maintain anyone’s interest – even the younger viewers. Alvin and the Chipmunks is not a long film (90 mins) but you’ll certainly be relieved once the credits roll.
Shoehorned in between all of this is the obligatory love story between Dave and ex Claire (Richardson), who is inexplicably often nearby wherever Dave happens to be. While Richardson does admirably well to inject a little sentiment into what is essentially an afterthought, there is little she can do to save it from bad writing and a distinct lack of any real conclusion.
It is not only the love story sub plot that suffers from a less than satisfactory ending. The last few scenes of the film feel like they were invented on the spot, when someone realised no one had thought how to conclude the film. Lacking in any sort of proper explanation or feeling of closure this will feel woefully inadequate to both big and little person alike. If you need a film to entertain the kids at this time of the year rent a Pixar movie instead.
Released: 21st December 2007
Director: Tim Hill
Starring: Jason Lee, David Cross, Justin Long, Cameron Richardson
One of the multitude of Christmas offerings for the tiny people who live among us, Alvin and the Chipmunks is a modern CG/live action “re-imagining” of the classic singing critters first created by American songwriter Ross Bagdasarian. Many may remember them fondly from the cartoon series’ of the 60’s and 80’s, but if you’re hoping that this film will provide your own offspring with the same warm fuzzy feelings you remember from all those years ago I’m sorry to say you’ll be sorely disappointed.
For a start these chipmunks are not drawn they are computer generated. While there is much to be said for modern computer animation and its place in cinema these pixelated rodents are an advert for some of what is worst about the medium. The vague attempts at anthropomorphising the trio end up with something that looks more eerie than cutsie. Also, while children might be able to buy in to the idea that these little guys are really really in that kitchen, your average adult viewer will always feel a sense of disconnection from the action.
Personality wise the titular creatures are not as annoying as you might presume. Although they never really go so far as to endear themselves, their faux street-wise attitude combined with a childish understanding of the world is, at least initially, appealing. As far as un-imaginary actors go there is a little more hope. Jason Lee is tasked with holding things together for the first half of the film and does a passable job with what he is given script-wise. However you can’t help but notice an undercurrent of embarrassment in some scenes.
David Cross, on the other hand, provides the majority of the movies highpoints. His music mogul exaggerations and deadpan efforts to be down-with-the-kids are regularly hilarious. Heart achingly once the film lurches into its second half and story carrying duties are passed onto Cross the hilarity grinds to a halt. Cross, now devoid of opportunity for comedic improvisation, is left to wrestle his average acting talents around a frankly awful script. He quickly loses any goodwill he might have built up in the first 30 minutes.
The story itself is a morality tale about the evils of the modern recording industry and a parable for the good ol’ American family unit (albeit a unit made up of one unemployed musician and three talking furballs). Arriving in Dave’s (Lee) house they proceed to cause no small amount of mayhem and are duly cast back out onto the street. However when Dave discovers their hidden singing talents he quickly becomes surrogate father on the condition that they sing the songs he writes. Entranced by the warbling woodland creatures the morally questionable record company head Ian (Cross) signs them up immediately; while putting into action his own dastardly plan to claim the chipmunks for himself. While this might sound OK on paper, when it comes down to it this really isn’t interesting or well executed enough to maintain anyone’s interest – even the younger viewers. Alvin and the Chipmunks is not a long film (90 mins) but you’ll certainly be relieved once the credits roll.
Shoehorned in between all of this is the obligatory love story between Dave and ex Claire (Richardson), who is inexplicably often nearby wherever Dave happens to be. While Richardson does admirably well to inject a little sentiment into what is essentially an afterthought, there is little she can do to save it from bad writing and a distinct lack of any real conclusion.
It is not only the love story sub plot that suffers from a less than satisfactory ending. The last few scenes of the film feel like they were invented on the spot, when someone realised no one had thought how to conclude the film. Lacking in any sort of proper explanation or feeling of closure this will feel woefully inadequate to both big and little person alike. If you need a film to entertain the kids at this time of the year rent a Pixar movie instead.
Tuesday 8 July 2008
Taking Cameras And Film On Planes With Ease
Just about everything having to do with flying on any commercial airline has changed in recent years. There's no exception, whether you're taking your film camera on a once in a lifetime vacation or you're a photojournalist scheduled to cover an assignment. You can still take your camera and film on the airplane, but you need to take certain precautions to protect your film.
You can fly with many kinds of cameras. Both film and digital, disposable cameras, video cameras, and cell phone cameras are all allowed on flights. The film, on the other hand poses the problem. If you pack undeveloped film in your checked luggage, the high intensity screening equipment will destroy your film. Only carry undeveloped film in your carry-on camera bag.
When packing for your trip, have all your undeveloped film in a large plastic bag, if possible. Request ahead of time to have your film hand-inspected, and not run through the security scanner. Also, store your camera in your carry-on bag with all film removed, so it's not destroyed when run through the scanner. Currently, your digital camera memory cards, memory sticks and other digital storage devices appear to be safe to be shipped in your checked luggage or run through the carry-on luggage scanner. Being prepared before arriving at the airport helps speed up the process when you get to the security check area.
Exposed film or processed film won't be damaged by the baggage scanning machines. As long as you pack them so they won't get crushed or damaged, they should come through a flight with no problems. Just place the exposed film back in the canisters they came in and pack it safely in your suitcase or camera bag, if you're taking along a large bag that is sturdy enough to check.
Checked baggage can take a lot of abuse and has been known to not reach it's destination. Many photographers elect to pack their camera equipment in their camera bags and use them as a carry-on to ensure their safety. To make room for extra film, if needed, wear your camera on the strap around your neck. If you do have to pack your equipment in your checked baggage, always take at least take some equipment with you in your carry-on. Then if your luggage is lost or stolen, you'll still be able to get those irreplaceable vacation photographs or that shot that will put you on the cover of a major magazine.
You can fly with many kinds of cameras. Both film and digital, disposable cameras, video cameras, and cell phone cameras are all allowed on flights. The film, on the other hand poses the problem. If you pack undeveloped film in your checked luggage, the high intensity screening equipment will destroy your film. Only carry undeveloped film in your carry-on camera bag.
When packing for your trip, have all your undeveloped film in a large plastic bag, if possible. Request ahead of time to have your film hand-inspected, and not run through the security scanner. Also, store your camera in your carry-on bag with all film removed, so it's not destroyed when run through the scanner. Currently, your digital camera memory cards, memory sticks and other digital storage devices appear to be safe to be shipped in your checked luggage or run through the carry-on luggage scanner. Being prepared before arriving at the airport helps speed up the process when you get to the security check area.
Exposed film or processed film won't be damaged by the baggage scanning machines. As long as you pack them so they won't get crushed or damaged, they should come through a flight with no problems. Just place the exposed film back in the canisters they came in and pack it safely in your suitcase or camera bag, if you're taking along a large bag that is sturdy enough to check.
Checked baggage can take a lot of abuse and has been known to not reach it's destination. Many photographers elect to pack their camera equipment in their camera bags and use them as a carry-on to ensure their safety. To make room for extra film, if needed, wear your camera on the strap around your neck. If you do have to pack your equipment in your checked baggage, always take at least take some equipment with you in your carry-on. Then if your luggage is lost or stolen, you'll still be able to get those irreplaceable vacation photographs or that shot that will put you on the cover of a major magazine.
Learn To Be A Film Director With A Mentor
In order to be a film director you must realize that directing films is a job that, despite some stories about lucky people, requires a good education. There are lots of college programs offering classes for the latest lights, cameras, and film making technology -- but the best education for a film career is working on the set via a mentor director in the industry.
The education requirements for learning the techniques to become a director also means you can get certification for the technical aspects of film making. The actual work as a director can be challenging, yet flexible and very rewarding. Study courses usually focus on the elements of a successful film plot, characters and style. But there's more...
Directors need to know every aspect of a film's production, from editing to cinematography to digital sound effects. Anyone interested in film probably already has inexpensive modern digital cameras and editing software. It just means that film making and directing has never been more accessible, so there are lots of competitors out there in the field. First time directors rarely get a million dollar film budget. Directors typically must work their way up, often by directing music videos, or commercials, and the salaries for film and movie directors are unpredictable and you start out on the low end.
You will find plenty of websites online that filmmakers track, like imbd.com, dv.com, film-connection.com or indietalk.com. These are all places where independent movie makers gather to discuss tips and tricks. Schools for directing and some university websites have started hosting videos of mentor teachers helping anyone who wants to learn how to be a film director.
Most film schools are accredited and prepare you for all the steps necessary so you can make your own feature film, music video or TV commercial. And the best ones find you mentorships where you work under the direct supervision of a professional director in the film industry. Within six months, you will probably have the experience, knowledge and connections you need to get a job, or direct your first feature film. The advantage of an apprenticeship is that your personal tutor, or a private mentor, will teach you just about all you need to know. But best of all perhaps, is that they will introduce you to their connections in the film business. Work on real movie, commercial or a music video project while you are taking classes.
This method is proven to work, and it sure beats sitting in some overcrowded, overpriced college classroom. Check out what our students and mentors are saying about a career in film directing on YouTube. Just type in what you are looking for - like how to become a film director.
By: articledashboard.com
The education requirements for learning the techniques to become a director also means you can get certification for the technical aspects of film making. The actual work as a director can be challenging, yet flexible and very rewarding. Study courses usually focus on the elements of a successful film plot, characters and style. But there's more...
Directors need to know every aspect of a film's production, from editing to cinematography to digital sound effects. Anyone interested in film probably already has inexpensive modern digital cameras and editing software. It just means that film making and directing has never been more accessible, so there are lots of competitors out there in the field. First time directors rarely get a million dollar film budget. Directors typically must work their way up, often by directing music videos, or commercials, and the salaries for film and movie directors are unpredictable and you start out on the low end.
You will find plenty of websites online that filmmakers track, like imbd.com, dv.com, film-connection.com or indietalk.com. These are all places where independent movie makers gather to discuss tips and tricks. Schools for directing and some university websites have started hosting videos of mentor teachers helping anyone who wants to learn how to be a film director.
Most film schools are accredited and prepare you for all the steps necessary so you can make your own feature film, music video or TV commercial. And the best ones find you mentorships where you work under the direct supervision of a professional director in the film industry. Within six months, you will probably have the experience, knowledge and connections you need to get a job, or direct your first feature film. The advantage of an apprenticeship is that your personal tutor, or a private mentor, will teach you just about all you need to know. But best of all perhaps, is that they will introduce you to their connections in the film business. Work on real movie, commercial or a music video project while you are taking classes.
This method is proven to work, and it sure beats sitting in some overcrowded, overpriced college classroom. Check out what our students and mentors are saying about a career in film directing on YouTube. Just type in what you are looking for - like how to become a film director.
By: articledashboard.com
The Strangers Film Review
Suggesting an American remake of David Moreau and Xavier Palud's Them, The Strangers is practically an abstraction: an old-school spooker spun from the blood splatter on a wall, a nearby record player scratching an oldie, a CB radio in the garage, a creaky swing set in the back yard.
First-time helmer Bryan Bertino is beholden to genre quota, skidding the relationship of pretty young couple Kristen and James (played by Liv Tyler and Scott Speedman) before subjecting them to an after-dark home invasion. But Bertino offers no profound rationale for why Kristen refuses James's marriage proposal; like the shadowy stranger that comes knocking at their door (eerily asking, "Is Tamara home?"), it's something that just happens.
What's up with the bemasked ghoulies of the film's title? Why all the door-slamming? Who's Tamara!?! Plying an old-school artistry that begins with a creepy montage of bumblefuck houses and holds up almost without fail until the strangers offer a creepy nonjustification for their transgressions, analog-man Bertino teases with the unknown until he has left no pimple ungoosed. Sometimes avoiding the synapse-raping bad habits of splat packers Eli Roth and Alexandre Aja is its own reward; doing so without also submitting to Michael Haneke-style hand-slapping is nearly monumental.
First-time helmer Bryan Bertino is beholden to genre quota, skidding the relationship of pretty young couple Kristen and James (played by Liv Tyler and Scott Speedman) before subjecting them to an after-dark home invasion. But Bertino offers no profound rationale for why Kristen refuses James's marriage proposal; like the shadowy stranger that comes knocking at their door (eerily asking, "Is Tamara home?"), it's something that just happens.
What's up with the bemasked ghoulies of the film's title? Why all the door-slamming? Who's Tamara!?! Plying an old-school artistry that begins with a creepy montage of bumblefuck houses and holds up almost without fail until the strangers offer a creepy nonjustification for their transgressions, analog-man Bertino teases with the unknown until he has left no pimple ungoosed. Sometimes avoiding the synapse-raping bad habits of splat packers Eli Roth and Alexandre Aja is its own reward; doing so without also submitting to Michael Haneke-style hand-slapping is nearly monumental.
A Lesson From The Golden Age Of Cinema
When I was travelling back from Auckland to Perth recently, I was watching the greatest movie of all time on my iPod. The movie, of course, is Casablanca:
It struck me that the last time I was watching this movie, it was at an outdoor cinema, under the stars on the big screen. And the previous time, it was at home, watching a DVD on TV.
So here is a movie made 65 years ago, created for the big screen only, and within the last 12 months, I had watched it three times in three completely different places: DVD, big screen and iPod.
Of course, nobody thought about this in 1942 when it was first shown in cinemas. But the beauty of digital information is that it's so portable.
Are you doing the same with your content?
What material do you have that is currently published for only one medium? Your clients or customers now have new tools to consume material in different ways, at different times, and on their own terms. Are you making it easy to them, or are you getting in the way?
For example, if you publish a podcast regularly, are you also publishing that as an audio clip on your Web site? And are you adding the same audio clip to your blog? Different people will see it in those three different places.
Or, when you write an article in your newsletter, do you also publish it on your Web site? And add it to your blog?
You don't have to change the content.
I've talked in the past about how to change the content of an article or a blog post to create new content. But here, you don't even have to change the content. It's just a matter of using the same content and publishing it in a different place. That makes it easier for people to find in the place that is most convenient to them.
Don't worry about them complaining that you just duplicate all your material and you've got nothing new. On the contrary, they will probably only see it in the one place they like to read it, listen to it or watch it. They'll thank you for making the effort to make it easy for them.
It struck me that the last time I was watching this movie, it was at an outdoor cinema, under the stars on the big screen. And the previous time, it was at home, watching a DVD on TV.
So here is a movie made 65 years ago, created for the big screen only, and within the last 12 months, I had watched it three times in three completely different places: DVD, big screen and iPod.
Of course, nobody thought about this in 1942 when it was first shown in cinemas. But the beauty of digital information is that it's so portable.
Are you doing the same with your content?
What material do you have that is currently published for only one medium? Your clients or customers now have new tools to consume material in different ways, at different times, and on their own terms. Are you making it easy to them, or are you getting in the way?
For example, if you publish a podcast regularly, are you also publishing that as an audio clip on your Web site? And are you adding the same audio clip to your blog? Different people will see it in those three different places.
Or, when you write an article in your newsletter, do you also publish it on your Web site? And add it to your blog?
You don't have to change the content.
I've talked in the past about how to change the content of an article or a blog post to create new content. But here, you don't even have to change the content. It's just a matter of using the same content and publishing it in a different place. That makes it easier for people to find in the place that is most convenient to them.
Don't worry about them complaining that you just duplicate all your material and you've got nothing new. On the contrary, they will probably only see it in the one place they like to read it, listen to it or watch it. They'll thank you for making the effort to make it easy for them.
Blu-ray Movies- The Future Of Cinema.
We all love to watch the latest movies and even the age old classics. Earlier, we used to watch the movies on the tape cassettes, later came the advanced compact disks that provided better display. The advancement in technology led to introduction of the DVDs which were more efficient and sophisticated. The latest format with which we can have the most astounding experience while watching our favourite movies is the innovative Blu-ray technology. The latest Blu-ray movies are a great craze amongst the people these days. The movie lovers admire these movies as they are in wonderful format and present amazing display.
Over the years there has been a great enhancement in the technology. There have been new innovations in every arena - be it entertainment, communication or electronics. We have been using the various storage devices like the hard disk, compact disk, DVDs or the conventional magnetic tape drives. The substantial increase in the storage capacity of these devices has given better experience to the users. The newest innovation in this arena is the wonderful Blu-ray disks which are immensely efficient and have great storage capacity. These disks have other advanced features also which make them absolutely admirable. These disks are also known as the BD and are highly sophisticated optical disks that have been developed by several pioneering brands that deal with the manufacturing of personal computers, consumer electronics and storage media. The Blu Ray Disc Association is associated with big names like Mitsubishi, Panasonic , Samsung, Sony, Thomson, Apple etc.
The disk has been specially created to facilitate high definition video playback, storing mammoth amount of data and rewriting. These amazing disks have nearly five times more storage capacity than the old DVDs. The BD can hold upto 25 GB of data in single layer and 50 GB on the double layer disks. The high storage capacity of these disks ensure that the consumers get amazing experience with them. These advanced storage media comes with the ability to offer advanced video playback and amazing audio codecs. So now the users will be able to enjoy wonderful movies on this innovative new media.
Unlike the present optical disk storage media viz DVD, DVD RAM etc. The BD relies on the blue ultra violet (UV) laser rays for writing and reading data from the disk instead of the red laser. The reason behind the use of the blu UV rays is that they have shorter wave length and thus can focus more precisely on the intended spot. This helps to pack the data more tightly and hence more information can be stored in lesser space. The Blu ray movies disks thus have comparatively larger storage capacity in spite of being of the same size a CD or a DVD. These disks are using the aperture of .85 mm that makes them more efficient and they can store upto 25 to 50 GB of data.
These advanced disks are truly wonderful and efficient. The most incredible aspect of these efficient disks is that they give amazing video playbacks. Thus watching movies on them is a complete pleasure. You can get the most awesome display with the great capabilities of these disks. The Blu-ray movies are totally invigorating and magical. Many big players and entertainment houses have greatly supported this format. Recently, many movies have been released in this newest format to ensure that the users get the best experience with them. Disney, Warner Brothers, MGM and Paramount are the leading studios and they have presented many movies on the Blu ray format.
These days, all the latest Blu ray movies are readily available on the internet. One can easily find the highly entertaining and mesmerising movies that have the best quality displays and great playback. These latest movies are totally invigorating and you will never feel bored or disappointed while watching them. These movies are a perfect alternative to the CDs and DVDs.
Over the years there has been a great enhancement in the technology. There have been new innovations in every arena - be it entertainment, communication or electronics. We have been using the various storage devices like the hard disk, compact disk, DVDs or the conventional magnetic tape drives. The substantial increase in the storage capacity of these devices has given better experience to the users. The newest innovation in this arena is the wonderful Blu-ray disks which are immensely efficient and have great storage capacity. These disks have other advanced features also which make them absolutely admirable. These disks are also known as the BD and are highly sophisticated optical disks that have been developed by several pioneering brands that deal with the manufacturing of personal computers, consumer electronics and storage media. The Blu Ray Disc Association is associated with big names like Mitsubishi, Panasonic , Samsung, Sony, Thomson, Apple etc.
The disk has been specially created to facilitate high definition video playback, storing mammoth amount of data and rewriting. These amazing disks have nearly five times more storage capacity than the old DVDs. The BD can hold upto 25 GB of data in single layer and 50 GB on the double layer disks. The high storage capacity of these disks ensure that the consumers get amazing experience with them. These advanced storage media comes with the ability to offer advanced video playback and amazing audio codecs. So now the users will be able to enjoy wonderful movies on this innovative new media.
Unlike the present optical disk storage media viz DVD, DVD RAM etc. The BD relies on the blue ultra violet (UV) laser rays for writing and reading data from the disk instead of the red laser. The reason behind the use of the blu UV rays is that they have shorter wave length and thus can focus more precisely on the intended spot. This helps to pack the data more tightly and hence more information can be stored in lesser space. The Blu ray movies disks thus have comparatively larger storage capacity in spite of being of the same size a CD or a DVD. These disks are using the aperture of .85 mm that makes them more efficient and they can store upto 25 to 50 GB of data.
These advanced disks are truly wonderful and efficient. The most incredible aspect of these efficient disks is that they give amazing video playbacks. Thus watching movies on them is a complete pleasure. You can get the most awesome display with the great capabilities of these disks. The Blu-ray movies are totally invigorating and magical. Many big players and entertainment houses have greatly supported this format. Recently, many movies have been released in this newest format to ensure that the users get the best experience with them. Disney, Warner Brothers, MGM and Paramount are the leading studios and they have presented many movies on the Blu ray format.
These days, all the latest Blu ray movies are readily available on the internet. One can easily find the highly entertaining and mesmerising movies that have the best quality displays and great playback. These latest movies are totally invigorating and you will never feel bored or disappointed while watching them. These movies are a perfect alternative to the CDs and DVDs.
The First Theater Designed Exclusively For Cinema (movies) Opened In Pittsburgh
When it is initially produced, a feature film is often shown to audiences in a movie theater or cinema. The first theater designed exclusively for cinema opened in Pittsburgh, Pennsylvania in 1905. Thousands of such theaters were built or converted from existing facilities within a few years. In the United States, these theaters came to be known as nickelodeons, because admission typically cost a nickel (five cents).
Typically, one film is the featured presentation (or feature film). Before the 1970s, there were "double features"; typically, a high quality "A picture" rented by an independent theater for a lump sum, and a "B picture" of lower quality rented for a percentage of the gross receipts. Today, the bulk of the material shown before the feature film consists of previews for upcoming movies and paid advertisements (also known as trailers or "The Twenty").
Historically, all mass marketed feature films were made to be shown in movie theaters. The development of television has allowed films to be broadcast to larger audiences, usually after the film is no longer being shown in theaters. Recording technology has also enabled consumers to rent or buy copies of films on VHS or DVD (and the older formats of laserdisc, VCD and SelectaVision — see also videodisc), and Internet downloads may be available and have started to become revenue sources for the film companies. Some films are now made specifically for these other venues, being released as made-for-TV movies or direct-to-video movies. The production values on these films are often considered to be of inferior quality compared to theatrical releases in similar genres, and indeed, some films that are rejected by their own studios upon completion are distributed through these markets.
The movie theater pays an average of about 50-55% of its ticket sales to the movie studio, as film rental fees. The actual percentage starts with a number higher than that, and decreases as the duration of a film's showing continues, as an incentive to theaters to keep movies in the theater longer. However, today's barrage of highly marketed movies ensures that most movies are shown in first-run theaters for less than 8 weeks. There are a few movies every year that defy this rule, often limited-release movies that start in only a few theaters and actually grow their theater count through good word-of-mouth and reviews. According to a 2000 study by ABN AMRO, about 26% of Hollywood movie studios' worldwide income came from box office ticket sales; 46% came from VHS and DVD sales to consumers; and 28% came from television (broadcast, cable, and pay-per-view).
Typically, one film is the featured presentation (or feature film). Before the 1970s, there were "double features"; typically, a high quality "A picture" rented by an independent theater for a lump sum, and a "B picture" of lower quality rented for a percentage of the gross receipts. Today, the bulk of the material shown before the feature film consists of previews for upcoming movies and paid advertisements (also known as trailers or "The Twenty").
Historically, all mass marketed feature films were made to be shown in movie theaters. The development of television has allowed films to be broadcast to larger audiences, usually after the film is no longer being shown in theaters. Recording technology has also enabled consumers to rent or buy copies of films on VHS or DVD (and the older formats of laserdisc, VCD and SelectaVision — see also videodisc), and Internet downloads may be available and have started to become revenue sources for the film companies. Some films are now made specifically for these other venues, being released as made-for-TV movies or direct-to-video movies. The production values on these films are often considered to be of inferior quality compared to theatrical releases in similar genres, and indeed, some films that are rejected by their own studios upon completion are distributed through these markets.
The movie theater pays an average of about 50-55% of its ticket sales to the movie studio, as film rental fees. The actual percentage starts with a number higher than that, and decreases as the duration of a film's showing continues, as an incentive to theaters to keep movies in the theater longer. However, today's barrage of highly marketed movies ensures that most movies are shown in first-run theaters for less than 8 weeks. There are a few movies every year that defy this rule, often limited-release movies that start in only a few theaters and actually grow their theater count through good word-of-mouth and reviews. According to a 2000 study by ABN AMRO, about 26% of Hollywood movie studios' worldwide income came from box office ticket sales; 46% came from VHS and DVD sales to consumers; and 28% came from television (broadcast, cable, and pay-per-view).
Thursday 3 July 2008
Guillermo Del Toro Dishes About The Hobbit
We have some of Guillermo Del Toro’s thoughts on the Hobbit’s casting, creatures and story today thanks to the fabled caves of Yahoo:
First of all, expect some crazy new creatures. If you’ve seen Hellboy or his epic Pan’s Labyrinth, you know del Toro would go beyond Orcs and talking trees. He promises to respect J.R.R. Tolkien’s and Peter Jackson’s creations, but sees many more new ones. “I plan to bring myself to The Hobbit,” he said. “No doubt about that.”
And even though The Hobbit was Tolkien’s tot-sized adventure, the film version will not be The Lord of the Rings for Kids. “Tolkien had, in the last third of the book—I wouldn’t say an edge, but had a somber tone that normally would not conjure the term ‘family.’”
“We’ll cast whoever seems to fit the pages,” del Toro said. Wannabe Hobbits may have to chase him down to New Zealand, though, where he’ll be spending much of the rest of the year, checking in with the creature designs and the Middle Earth set.
I am quite excited to see the monsters that Guillermo will make for The Hobbit. I am most excited about Smaug the dragon and cannot wait to see the battle against him. Killing a dragon is a goal that I achieved once in D&D, (The Ruins Of Undermountain) but have yet to accomplish in real life. Del Toro’s makeup/monster team is among the best I have ever seen, and I look forward to their creations. The man in suit is cinematic power!
I am pleased that Gillermo isn’t going to cater this film to children any more than the other Lord Of The Rings films. The Hobbit was intended to be a children’ s book but I think it’s wise to avoid making it overly “kid friendly”. Sombre suits me just fine.
I am on board with what Mr. Del Toro has said above and could not be more excited to see what he has in store for us. This should be a treat indeed!
Hellboy 2 Review
Thanks for checking out our Hellboy 2 review. If you’d like to see the video version of the Hellboy 2 review, you can see it at the bottom of this post.
When Mike Mignola’s creation “Hellboy” was brought to the big screen by Guillermo del Toro I was blown away by the results. Having only read a couple of the comics, I wasn’t sure how on earth they could bring this type of a character… this type of a world to the big screen in a way that general audiences would “get it”. Somehow they found a way and made Hellboy probably the most underrated Comic Book movie ever… Hellboy himself is one of the most interesting characters certainly in the entire genre on screen and was perfectly embodied by Ron Perlman. Needless to say I was very excited about the prospects of another Hellboy movies, and last night I had that chance to see it. Was my anticipation rewarded? Yes it was.
THE GENERAL IDEA
The synopsis for Hellboy 2 looks something like this: “The Golden Army begins when an ancient truce existing between humankind and the invisible realm of the fantastic is broken; Hell on earth is ready to erupt. Hellboy 2 tells the tale of a ruthless leader who treads the world above and the one below, defies his bloodline and awakens an unstoppable army of creatures. Its up to the planets toughest, roughest superhero to battle the merciless dictator and his marauders. He may be red, he may be horned, he may be misunderstood, but when you need the job done right, its time to call in Hellboy (Ron Perlman), and the B.P.R.D.
The Bureau for Paranormal Research and Defense (BPRD) will travel between the surface world and the unseen magical one, where creatures of fantasy become corporeal, along with his expanding team pyrokinetic girlfriend Liz Sherman (Selma Blair), aquatic empath Abe (Doug Jones), and protoplasmic mystic Johann Krauss (James Dodd), the newest member of the BPRD. Hellboy, a creature of two worlds who is accepted by neither, must choose between the life he knows and an unknown destiny that beckons him.
A slip-up results in the F.B.I. being forced to reveal the existence of BPRD to the general public. Brash old Hellboy doesn’t play well with the public, which only increases the instability of his already-turning-rough relationship with Liz. However, fellow paranormal Johann (who is a sort of ectoplasmic spirit held within a very special containment suit) is far better with the public — and with Liz, apparently. But in the end they’ve all got to come together to fight Prince Nuada (son of the Woodland King), who, with his army of ghouls, faerie, and the like, is attempting to resurrect a golden army once controlled by his father.”
THE GOOD
Del Toro does such a magnificent job creating this world in which the “normal” world and the world of the fantastic live together in close proximity. Other projects that have a fantastic world within the same realm of our own often come across as cheesy, but the way Del Toro weaves it all together is amazing.
The character design is just beautiful and very different from the run of the mill, cookie cutter creature design we see in a lot of other flicks. Del Toro designed a lot of the creatures himself and you can completely see the signature look that he also used for some of his creatures in “Pan’s Labyrinth”. All very original… all breathtakingly beautiful.
Good comic book movies need a solid antagonist. And Prince Nuara fits the need very nicely. The role is played by Luke Goss who also appeared in Del Toro’s “Blade 2″ as the main bad guy Nomak. He has a terrific intensity about him that make him something to dread. And this may sound odd… but I find the best “bad guys” are the ones who think they’re being “good”. They have a sense of honor about them. To me this is extra scary.
Perlman once again rules as Hellboy. It’s hard to imagine anyone else doing this role as well as he’s done it (although I’m sure I’d be saying the same thing if another guy had done it in the first place too).
The Mythology of the story is incredible. The movie starts with flashback of a young Hellboy going to bed and his father (who died in the first movie) telling him the bedtime story of the Golden Army. It’s a terrific tale with so many classic elements in it. It sets a wonderful framework for the movie as a whole.
I didn’t think I’d like the new character on the team, Johann Kraus, but as it turns out he was one of my favorite characters in the movie. I talked to some people after the screening that thought he sounded silly (strong German accent), but I thought he was hilarious and thought the accent really added to the character.
The visual effects were… WOW… just wow. Especially The Golden Army itself. Some amazing looking stuff.
THE BAD
I was actually pretty happy to hear that Doug Jones (The man who was in Abe’s suit for the first movie, but David Hyde Pierce did the voice) was going to get to do the voice of Abe as well this time around. Doug (for those of you who may not know) was also the body of the Silver Surfer in fantastic Four 2… but didn’t get to do the voice, and the voice of Pan the Faun in Pan’s Labyrinth… but didn’t get to do the voice I don’t think either. Unfortunately, i don’t think Doug’s voice worked for Abe. He did his very best to mimic David Hyde Pierce, but for me it fell short. I found myself constantly expecting to hear the first voice come out… but it never did. Too bad.
The movie isn’t a comedy per se, and I understand that… but the first one was a lot funnier. Don’t get me wrong, there are a couple of priceless scenes that had me laughing out loud… but not nearly as many as the first Hellboy movie, and I was expecting a little more of that with the characters you had here.
I can’t really put my finger on it… but Selma Blair (who I really like normally) just didn’t work nearly as well for me as Liz this time around as she did in the last flick. And it wasn’t just the character… it felt to me like Blair was bored or something. In sports terms it felt like she just mailed in her performance and didn’t give much of an effort. She didn’t suck… but she didn’t bring it either… or even tried to… shame.
OVERALL
Hellboy 2 ends up being a fun, beautiful looking fantasy / adventure type movie that manages to be a tiny bit better than the first one. No, it’s not as funny and the lack of David Hyde Pierce was painfully obvious, but other than that it’s a truly fun time at the theaters. Del Toro does it again! Overall I give Hellboy 2 a 7.5 out of 10.
Pixar Easter Eggs and Wall-E
Easter Eggs are one my favourite parts in films and TV. For those who don’t know, in media an Easter egg is an intentional hidden message or feature in an object such as a movie, book, CD, DVD, computer program, or video game.
What else have you seen in the Pixar Movies?
Pixar is known for its Easter Eggs. And you would think that these would increase as they had more to work with, but characters from movies yet to be released are making cameo appearances! Now in some of the “blooper reels” there are some blatant crossover pieces, but I am talking about the more subtle ones.
JimHillMedia has a pretty detailed list. And in case you didn’t want to read it all, here is the short of what he found
-The Adventures of André and Wally B - is a book name in Andy’s Bedroom in Toy StoryWell now it seems that Wall-E has made appearances in Incredibles, Ratatouille (in a bonus feature) Toy Story and even in Cars.
-The Lamp from Luxo Jr (which is a part of the Pixar Logo) knocks Buzz out the window in Toy Story
-The ball in Luxo Jr appears in Toy Story 1&2, Incredibles, Monsters Inc,
-Dinoco is the Gas Station that we find the Pizza Planet pickup in ToyStory and is also the coveted sponsor in Cars
-The old man who plays chess with himself in Geri’s Game is also the toy repair expert in Toy Story 2
-The Birds on the powerline in “For the Birds” are still up there in a highway scene of Cars
-TinToy, one of the first Pixar shorts appears in “Lifted”
-The abducted man in Lifted is Linguini from Ratatouille
-Boo hands Sully a number of toys in Monsters Inc including the Luxo Jr Ball, Jessie from Toy Story 2 and Nemo (before Finding Nemo was released)
-Stanley, the old car statue in Cars makes an appearance in the short “Boundin”
-Bomb Voyage from the Incredibles is seen as a mime on the streets of Paris in Ratatouille
-The Pizza Planet Pickup is seen in all Pixar films.
What else have you seen in the Pixar Movies?
Judge William Terrell Hodges Gives Wesley A Break
Wesley Snipes will have a window of freedom to film as he waits for his appeal. We get the scoop from the hideout caves of Yahoo:
Wesley Snipes will be allowed to leave the United States to work on two movies while his lawyers appeal his tax convictions. Federal judge William Terrell Hodges on Wednesday approved the actor’s motion to travel to London and Bangkok, Thailand. Snipes will be in England about three days this month for post-production editing of “Gallowwalker,” and in Thailand for eight weeks to film “Chasing the Dragon.”
A jury convicted the action star in February of three counts of willfully failing to file his income taxes. The 45-year-old Snipes, star of the “Blade” trilogy, “White Men Can’t Jump” and “Jungle Fever” among other films, has appealed the convictions and his three-year prison sentence to the 11th Circuit Court in Atlanta.
Run Wesley! Run For The Hills! I hope Snipes ditches out and lives in an underground fortress in Thailand!….not really, but I would pump my fist in the air if he did.
Even though Wesley is most likely going to the big house, I think it’ s wise and fair that the judge will let him work in the meantime. These productions are counting on Snipes and it would be a loss for all involved if he wasn’t able to contribute. The judge has no doubt saved jobs and many, many headaches for the production team.
I am still holding out for an appeal, I don’t want Wesley to go to the slammer and hope that his lawyers are able to use their law magic to free him.
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