Birdman, or the Unexpected Virtue of Ignorance is one of those films that leaves an impression long after its over. Just that first subliminal shot of dead jellyfish on the beach is worth noting, but I digress.
The Podcast progresses as follows:
The Unexpected Virtue of Ignorance meaning
The cinematography, i.e. one long panning shot and scene transitions
When I found out Wolfgang Petersen directed Poseidon, the movie took on an entirely new meaning.
Wolfgang Petersen is the man who directed 2000’s The Perfect Storm, and six years later Poseidon (2006). Poseidon is Harold Bloom’s Anxiety of Influence at work; it’s a Kenosis of The Perfect Storm; it’s Wolfgang Petersen’s redemption; a perfection of The Perfect Storm.
Let’s be honest, The Perfect Storm was adapted to film in 2000 to bank off of the Titanic‘s tragedy-at-sea success. I mean 1996 – 1998 can be summed up as the golden years for disaster films:
Independence Day (1996)
Mars Attacks! (1996)
Dante’s Peak (1997)
Deep Impact (1998)
There’s hundreds more, but these were huge when I was growing up. Nobody in my generation missed these. It’s why modern comedies still make a joke out of which one was Armageddon and which one was Deep Impact. (After this, disaster movies had to get more creative since all the natural disaster titans had been taken.) Continue reading →
This film has a bit of an identity crisis as it’s struggling between being a fictional story, a faithful adaptation of a book, and a true story without any eyewitnesses. It’s not a terrible film, but it’s not good, and a lot of that is due to not knowing which story to tell. As a result, you get another ocean voyage tragedy from Hollywood — due to the success of The Titanic (1997) — that’s given the All-American Hero treatment.
Superbrothers: Sword & Sorcery EP is unique, so it’s with levity that I refer to it as the hipster incarnation of The Legend of Zelda. It feels more inspired by Zelda, what with the heroic quest to assemble a triforce to prevent an evil spectre from ruling the kingdom. The hipster part is more related to the “vinyl record” imagery and not-so-subtle narrator:
The narrator voice is the one thing I could do without. Its hip juxtaposition to this historical fantasy adventure feels disingenuous. Here I am with an iOS gem, soaking in the music, the controls, the articulate (yet simplistic) art style, and lauding it all the while when suddenly a sycophantic social media intern starts prodding me in the back saying, “Have you gotten to the part with the boor yet? The part with the boor is my favorite part!”
But the “narrator” is tolerable because there’s not much of him/her and most of the characters have enough personality to speak for themselves. Where this game excels is every other venue.
Women are slowly gaining momentum but progress is very difficult when change hasn’t yet occurred. Women characters are having a hard time right now too. As collective writers I don’t see a full range of women being portrayed properly. There are some but the numbers seem really low. And one of the bigger problems is that the characters written come from molds that are not one’s own. Equality has turned into such a big issue that people are sacrificing the unique and instead they show that women can be just as successful as men in the same ways. For me: that ruins a story. Characters should rather be seen individually and no comparatively.
The movie, Mulan, works on so many levels and the characters were written so well that any story-line would have been successful. Continue reading →