The Danish Girl
The Danish Girl lacks an immediacy and vibrancy, as well as a genuine sense of emotional connection.
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
An appreciation of John McTiernan's "The Hunt for Red October" on its 25th anniversary.
A look at the cinematic and political history that resulted in Bong Joon-Ho's "Snowpiercer."
Nick Schager ponders the new crop of action directors, who bring 'serious film' cred to the genre, but can't seem to show personality where it counts the most.
"Die Hard", which was released 25 years ago today, might be the most widely-imitated action film of all time. Who would have thought that a glorified deal memo would turn out to be a classic?
Chaos Cinema Part 1 from Matthias Stork on Vimeo.
Matthias Stork, a German film scholar now based in Los Angeles, has created a most stimulating two-part video essay on a subject near and dear to my heart: "Chaos Cinema." At Press Play, it's given the sub-head "The decline and fall of action filmmaking," while an analysis at FILMdetail considers it from the angle of technology: "Chaos Cinema and the Rise of the Avid." Stork, who also narrates his essay, describes his premise this way:
Rapid editing, close framings, bipolar lens lengths and promiscuous camera movement now define commercial filmmaking.... Contemporary blockbusters, particularly action movies, trade visual intelligibility for sensory overload, and the result is a film style marked by excess, exaggeration and overindulgence: chaos cinema.
Chaos cinema apes the illiteracy of the modern movie trailer. It consists of a barrage of high-voltage scenes. Every single frame runs on adrenaline. Every shot feels like the hysterical climax of a scene which an earlier movie might have spent several minutes building toward. Chaos cinema is a never-ending crescendo of flair and spectacle. It's a shotgun aesthetic, firing a wide swath of sensationalistic technique that tears the old classical filmmaking style to bits. Directors who work in this mode aren't interested in spatial clarity. It doesn't matter where you are, and it barely matters if you know what's happening onscreen. The new action films are fast, florid, volatile audiovisual war zones. [...]
Most chaos cinema is indeed lazy, inexact and largely devoid of beauty or judgment. It's an aesthetic configuration that refuses to engage viewers mentally and emotionally, instead aspiring to overwhelm, to overpower, to hypnotize viewers and plunge them into a passive state. The film does not seduce you into suspending disbelief. It bludgeons you until you give up.
It seems to me that these movies are attempting a kind of shortcut to the viewer's autonomic nervous system, providing direct stimulus to generate excitement rather than simulate any comprehensible experience. In that sense, they're more like drugs that (ostensibly) trigger the release of adrenaline or dopamine while bypassing the middleman, that part of the brain that interprets real or imagined situations and then generates appropriate emotional/physiological responses to them. The reason they don't work for many of us is because, in reality, they give us nothing to respond to -- just a blur of incomprehensible images and sounds, without spatial context or allowing for emotional investment.
There's a little back-and-forth between me and Glenn Kenny about this Oscar-nominated picture called "Avatar" over at MSN Movies. Good heavens, I wonder, what's all this fuss about? Maybe you're just a fogey, Glenn suggests. I say I wanted to visit a world of awesome mystery and wonder, and all I got was this velvet painting of a movie. Glenn says that he wanted a state-of-the-art "ass-kicking James Cameron science fiction action movie" -- and, for him, "Avatar" delivered on that score.