It’s called a slow “zoom-in + track back” shot. Or, if you will, a slow “track forward + zoom reverse” shot….not sure which one was utilized. Does anyone?
Either way Brendan Hodges is a blathering bullshitter as it’s hardly a “difficult” shot. Steven Spielberg used an urgent zoom-in + track back in Jaws, seven years before he shot E.T.
on Spielberg's birthday thinking about one of his hardest-ever shots pic.twitter.com/mG7FiZQCB3
— Brendan Hodges (@metaplexmovies) December 18, 2023
I don’t agree with any of these “best” calls. What these films are is “not half bad in an interesting, arresting way.“
I finally half-liked Munich when I re-watched it a year ago.
Pale Rider is basically Shane as a ghost.
Magnolia is essentially a morose middle-class thing enlivened by Tom Cruise, the third-act musical sequence and the frog finale.
Casino is watchable, but is gradually asphyxiated by Sharon Stone’s noxious self-destruction and Robert DeNiro’s nonsensical attraction to her. And then Joe Pesci and his brother are beaten to death and buried alive in a cornfield.
For me Kathryn Bigelow caught glorious fire as a director when she made The Hurt Locker and Zero Dark Thirty. Then she got tangled up in the mania of exposing horrible historical truths (i.e., evil white cops murdering victims of color) in Detroit, and the air just whooshed out of the balloon.
She’s flat-out lied, in fact, about what it’s like to be swamped and smothered by hordes of American tourists in Tuscany’s San Gimignano, which Jett and I visited 14 or 15 years ago.
Campbell, a tour guide, has almost certainly decided that failing to mention how never-ending busloads of Aunt Biddies routinely suffocate the medieval vibe…she’s figuring that omitting this horrid fact is necessary to sell the city itself. Plus she misspells it.
From HE’s 5.17.10 Cannes review of Abbas Kiarostami’s Certified Copy (“Dweebie Conforme”):
In late January a restored 4K version of Roman Polanski Oscar-winning The Pianist will have a seven-day run at the Film Forum (1.26 thru 2.1). This will surely be followed by subsequent big-city bookings and a 4K Bluray.
This means something, methinks.
In the wake of the triumphant reviews and Cesar awards that greeted Polanski’s J’Accuse in Europe two years ago, I was told by reps for Bluray distribs and streamers that they wouldn’t dare stream Polanski’s historical thriller over fears of #MeToo protests, etc. Which seemed especially cowardly on their part and profoundly heinous on the part of Polanski’s detractors. The mere streaming of one of Polanski’s greatest films from the privacy of your own home…what kind of rabid fanaticism would forbid even this?
But the Pianist restoration suggests the winds are shifting.
…a presumptive Best Picture nominee was the recipient of this much eye-rolling, disdain and fatigue on Facebook threads?
— Daniel Day Lewis’s final line in There Will Be Blood.
Kang the Incarcerated.
Back in the late Bill Clinton era.
To me anyway. In Saltburn, I mean. I’m sorry but when I came upon this photo…bingo. The gremlin vibe. In every scene he’s the evil leprechaun ogre you need to keep tabs on. A Bond villain waiting in the wings.
…but if you over–splooge without restraint, readers will naturally pull back. I’m a sincere, serious fan of American Fiction but not to this extent.
As the son of the real-life William W. Wonka, my opinion on the film is all that matters, and I do declare that WONKA stunk. It’s the Butterfinger of blockbusters. Put that in your pockolate! I prefer my chocolate DARK, thanks… pic.twitter.com/s1mExqaJSP
— Jeff Sneider (@TheInSneider) December 16, 2023
Oscar Poker had been moribund for two weekends, sidelined by tech issues and whatnot. Obviously time to record again, and so Jeff and Sasha went to town on a rainy Sunday afternoon. And here it is.
Points hit:
How the Oscars lost their brand.
All hail Adam Carolla’s spot-on analysis about sports vs. award season and politics.
Leave the World Behind – a Netflix movie exec produced by the Obamas, and whether or not that’s creatively upfront of agenda-driven.
Having freedom of mind as opposed to being “in the bubble.”
Complimenting Jeff for not being an Oscar whore.
Jeff’s ongoing annoyances with Lily Gladstone and Barry Keoghan.
The Best Picture standouts, according to Jeff — Poor Things, Maestro, The Holdovers
The Boys in the Boat is an “old-fashioned” but very well-made and deeply likable film.
How Barbenheimer signified the return of “traditionalism”.
The 4K Titanic Bluray is great.
Was Joan Baez molested by her dad? What is she trying to say?
Therapy is ruining everything.
How erasing boundaries led to helicotper parenting in the 90s, which led to “safetyism.”
Why is Todd Haynes’ May December so popular with woke-bubble critics?
Again, the link.
HE has posted a stinging retort to the nagging pestilence known as “Seasonal Aflac Disord” after he ignorantly stated that George Clooney’s The Boys in the Boat (MGM/Amazon, 12.25) was, in a manner of speaking, superfluous to the cultural conversation.
This was a coded way of saying this 1930s Olympic sports saga is of no interest to under-40s because it doesn’t reflect our 2023 reality, in part due to the non-diverse cast.
HE to SAD: It’s NOT a “snoozefest”, you woke ayehole. It’s engrossing, nicely paced, attractively shot, well-performed by an engaging cast, etc. And it’s set in 1935 and ‘36, not “WWII.”
Repeating: Certain critics on your side of the cultural divide are apparently dismissing The Boys in the Boat for racial reasons — i.e., the cast being entirely white.
They’re not saying this in so many words, of course, but it’s a very safe assumption, trust me.
This is no different than certain critics hypothetically dismissing, say, The Color Purple or Ma Rainey’s Black Bottom over ethnic identity signage.
Racism is racism.
The Boys in the Boat feels familiar and conventional, yes, but it’s very nicely done in every category and is emotionally affecting. It’s Clooney’s best directed film since Good Night and Good Luck.