Jules Verne is widely regarded, and with very good reason, as one of the fathers of science fiction. He built upon the technology of the time, and turned it into some pretty good adventure tales.
Alas, very little of his work could actually be called science fiction. It fits better in the genre of “pulp adventure”, and is mostly forgettable. Seriously, how many of his over fifty Voyages extraordinaires can you remember, or even name? Well, there’s 20,000 Leagues Under the Sea, which you undoubtedly know from the movie. Around the World in Eighty Days was also made into a movie that’s much better than the original novel. You may have heard of From the Earth to the Moon because of its use of a giant cannon to launch the spaceship…. But The Vanished Diamond or Facing the Flag? Nope.
Working for American International, Director William Witney took two of those forgettable novels – Robur the Conqueror and its sequel Master of the World – into one, well……
There’s a pitfall for amateur movie reviewers. We tend not to have much experience in criticism (i.e. critical writing), so there’s a tendency to think that pointing out mistakes and flubs and inconsistencies (like Cinema Sins) counts as valid criticism. It is not. While it is true that proper, professional critics do have to note such things, it is not the be-all and end-all of their review.
I fell into that trap when just after watching Swamp Thing. I focused on all the things that made no sense at all to me – from the violation of Conservation of Mass to why the federal government has stashed a supposedly secret lab someplace down in the bayous and mangrove swamps of the Deep South – and they’re not even doing military research there.
But anyway…… Continue reading
Film critic Nathan Rabin came up with the idea of the “manic pixie dream girl” as a character type after seeing Kirsten Dunst in Elizabethtown (2005). He called the type “that bubbly, shallow cinematic creature that exists solely in the fevered imaginations of sensitive writer-directors to teach broodingly soulful young men to embrace life and its infinite mysteries and adventures.” A less-overblown description would be a generally young, usually cute, female “free spirit” who enters the life of a dull, boring, generally older male and gets him to loosen up and enjoy life.
The MPDG has been identified in movies going all the way back to 1936, when Katherine Hepburn turned Cary Grant’s world upside down in Bringing Up Baby. The term has also taken flack from critics who object to the sexism of the idea, which has been used to define actresses in real life, and not just characters.
The character type has become one of those things where once you know to look for it, you can’t stop seeing it – or at least hints of it. Since it’s become a defined trope, one might expect to start seeing variations – a Manic Pixie Dream Boy, perhaps.
Kitten With a Whip was made well before the MPDG became common, so it clearly cannot be a response to the trope. But it does pose the question – What if the MPDG was a sociopath?
LEGO has been an amazing tool for amateur filmakers. The pieces are cheap, infinitely combineable, and the human figures are all at the same size and are easily posable. Anyone wanting to do a little stop-motion animation need only get a bucket of LEGOs and a camera, and they’re in business.
There’s a whole genre of these “brickfilms”, with its own support communities and festivals. Given the time-consuming nature of the technique, most of them qualify as “shorts”. (The LEGO Movie and its sequels were made using computer animation, but were careful to follow the brickfilm style.)
Back in 2011, Joseph DeRose started making one of these brickfilms. His 20 minute short quickly grew to the point where it got away from him, and became a full-length feature film. He worked on it with friends and family over the years, doing it in segments and uploading them to YouTube as each one was completed.
He finished it in August, and uploaded the entire thing to YouTube.
With the success of such syndicated shows as Star Trek: The Next Generation and Tales from the Crypt, Metro Goldwyn Mayer decided it was the right time to bring back its old anthology series, The Outer Limits. The one hour show would first appear on the cable network Showtime, and then be released into syndication.
All they needed was a good story – one that could handle being extended into a 90 minute movie. They found it in a George R.R. Martin novelette, “Sandkings”. The 1978 story would have to undergo some major adjustments in order to work on TV – not the least of would be that it had to work within a TV budget.
The original story is an award-winning horror tale where the protagonist is a right proper cretin who deserves everything that happens to him – but I’m not going to talk about that. Not even about how the movie is different from the story. One has to treat the movie on its own – and if you have to have read the book to understand the movie, then the movie hasn’t done it’s job.
Any other year.
Any other year, and it could have easily won the Academy Award for Best Animated Feature. But at the 2010 Oscars, it was nominated with Up, Coraline, The Fantastic Mr. Fox, and The Princess and the Frog. One of the best set of nominees since they added the category in 2001. Heck, even the animated short films that year were all awesome!*
Any other year, and it should have won. But when one of the other nominees (Up) was also nominated for Best Picture, what chance did it have?
And a foreign film, too!
Director: Marcell Jankovics
Writers: László György, Marcell Jankovics
Music by: István Vajda
Start by collecting bits and pieces of local folk tales and legends. In this case, that means Hungarian, Avar, and others from the peoples that came and went through that part of southeast Europe.
Assemble them into a fairly standard “Hero’s Journey” tale.
Decide to animate the result.
Take some mild hallucinogens to give you inspiration for your design aesthetic….
Back in the 70s and 80s, Turkey – or at least the Turkish film industry – didn’t seem to care much for international copyright law. If a movie was successful in the US, they’d quickly churn out their own version, rights be damned. “Turkish Star Trek” dropped a noted comedian into the Star Trek universe for (presumably) comedic effect. “Turkish Star Wars” is really a movie called The Man Who Saved the World, and is not a knock-off of Star Wars – it just ‘borrows’ a couple of space battle scenes for background footage (and steals music from Raiders of the Lost Ark). Seytan is sometimes called “Turkish Exorcist” – with very good reason. It’s practically a scene-for-scene, if not shot-for-shot, remake.
The National Film Preservation Board “works to ensure the survival, conservation and increased public availability of America’s film heritage, including: advising the Librarian on its recommendations for annual selections to the National Film Registry…The National Film Registry selects 25 films each year showcasing the range and diversity of American film heritage to increase awareness for its preservation.”
Well, at least according to their website.
For the average movie buff, it’s a list of movies that are deemed sufficiently important for aesthetic, historic, or cultural reasons. They started selecting movies in 1989, but over the years they have somehow managed to avoid selecting one particular film. So once I’m done writing this, I’m going to nominate this movie – and hope someone there actually reads my nomination, and acts favorably.
The Blob (1958)
It isn’t an easy matter to take a movie to an international audience. There’s a lot that doesn’t translate across cultures. Comedy is often highly culturally specific. Romance depends a lot on social customs. Drama is a little easier to do, but it still has some problems.
Action and thrills, however, cross all borders. Explosions and monsters speak all languages. Is it any wonder that the biggest international box office successes these days are action & adventure flicks?
But even there, some things may still not translate very well across space and time.