Anchorman 2: The Legend Continues
The slapped-together sequel "Anchorman 2: The Legend Continues" finds Will Ferrell's vain and blustering Ron Burgundy trying to reinvent himself at a CNN-type network in…
* 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.
Spike Jonze's "Her" is a warm and intelligent consideration of our continually evolving relationship with technology.
Marie writes: Much beloved and a never ending source of amusement, Simon's Cat is a popular animated cartoon series by the British animator Simon Tofield featuring a hungry house cat who uses increasingly heavy-handed tactics to get its owner to feed it. Hand-drawn using an A4-size Wacom Intuos 3 pen and tablet, Simon has revealed that his four cats - called Teddy, Hugh, Jess and Maisie - provide inspiration for the series, with Hugh being the primary inspiration. And there's now a new short titled "Suitcase". To view the complete collection to date, visit Simon's Cat at YouTube.
Marie writes: Every once in while, I'll see something on the internet that makes me happy I wasn't there in person. Behold the foolish and the brave: standing on one of the islands that appear during the dry season, kayacker's Steve Fisher, Dale Jardine and Sam Drevo, were able to peer over the edge after paddling up to the lip of Victoria Falls; the largest waterfall in the world and which flows between Zambia and Zimbabwe, in Africa. It's 350 feet down and behind them, crocodiles and hippos can reportedly be found in the calmer waters near where they were stood - but then, no guts, no glory, eh? To read more and see additional photos, visit "Daredevil Kayakers paddle up to the precipice of the Victoria Falls" at the DailyMail.
While Cannes's red-carpet crowd toasts the Coen brothers' tuneful "Inside Llewyn Davis," the parallel programs have also turned a spotlight on America.
"Transsiberian" is a Hitchcockian thriller decorated with icy wintry landscapes. It sets its tone right at the beginning, carefully developing an unstable feeling while loading the story. It steadily amplifies a sense of dread within its closed space. We sense something terrible will happen, and it does happen, but we are surprised because we suddenly find the movie rapidly accelerating on an unexpected course--and it never stops until it reaches to its finale literally approaching toward it from the opposite side.
Marie writes: "let's see what happens if I tickle him with my stick..."(Photo by Daniel Botelho. Click image to enlarge.)
BEVERLY HILLS, Calif. (AP) — Complete list of 84th Annual Academy Award nominations announced Tuesday:
Two movies about the love of movies lead the field in the 2012 Academy award derby. Both look back at formative years for the art form. Martin Scorsese's "Hugo," about a young boy who makes a friend of the inventor of the cinema, led the field with 11 nominations. And Michel Hazanavicius' "The Artist," set when Hollywood was making the transition from silent pictures to the talkies, placed second with ten.
"The Girl With the Dragon Tattoo" has been a 2005 book (the first part of the late Stieg Larsson's "Millennium Trilogy," translated into English in 2008), a 2009 Swedish-language feature film by Danish director Niels Arden Oplev, and a 2011 English-language Hollywood movie. In 2012 it will also become a DC graphic novel, but my feeling while watching the new movie was that the material had reached its apotheosis as A David Fincher Film.
I haven't read the novels (I've paged through some of "Dragon Tattoo" in English), but even fans I've talked to don't make any claims for Larsson as a great writer (albeit in translation), and the Swedish movie version struck me as little more than a straightforward work of adaptation: "OK, we're going to take this story and put it on the screen." It did that, but except for the presence of Noomi Rapace as the titular Lisbeth Salander I didn't find it very exciting to watch.
So, I wasn't particularly looking forward to seeing another version of "The Girl with the Dragon Tattoo." I was only curious because of Fincher, whose "Fight Club," "Zodiac" and "The Social Network" I think very highly of. I saw the Fincher movie The Way It Was Meant To Be Seen™ (in Sony 4K Digital Video projection!) and, I admit, I was literally rocking out in my rocking theater seat from the first riffs of Trent Reznor and Atticus Ross's biting cover of Led Zeppelin's "Immigrant Song" -- an icy blast of frigid air over a deep black credits sequence in which our Girl Lisbeth endlessly shape-changes into various forms and substances -- all of them integral to who she is. ("Aaaaaaaaaaaaaaaaaaaah! Aaaaaaaaaaaaaaaaaa! We come from the land of the ice and snow, from the midnight sun where the hot springs flow..." Too on-the-nose? Maybe. But the squall of sound practically rips open the screen.)
From Alexander M. Taylor
Marie writes: some of you may recall reading about the Capilano Suspension Bridge in North Vancouver, British Columbia Canada. (Click to enlarge.)
Marie writes: Belgium club member Koen Van Loocke has submitted the following and it's so awesome, I have no words. But first, background..The Cinematic Orchestra is led by composer/programmer/multi-instrumentalist Jason Swinscoe, who formed his first group "Crabladder" in 1990 while a Fine Arts student at Cardiff College. The group's fusion of jazz and hardcore punk elements with experimental rhythms, inspired Swinscoe to further explore the musical possibilites and by the time the group disbanded in the mid-'90s, he was playing DJ at various clubs and pirate radio stations in and around London.
Marie writes: I was browsing the 2010 National Geographic Photography Contest Galleries and came upon this amazing shot - click to enlarge!
The Birth Of Earth: Photo by Terje Sorgjerd"Getting close or getting too close? Photo taken of the Eyjafjallajokull volcano eruption that would grind most of europe air traffic. This is the scariest moment in my life, and also the most beautiful and frightening display of raw force I have ever seen." - Terje Sorgjerd
Marie writes: Summer is now officially over. The berries have been picked, the jam has been made, lawn-chairs put away for another year. In return, nature consoles us with the best show on Earth; the changing of the leaves! I found these at one of my favorites sites and where you can see additional ones and more...
"I realize that most of the turning points in my career were brought about by others. My life has largely happened to me without any conscious plan. I was an indifferent student except at subjects that interested me, and those I followed beyond the classroom, stealing time from others I should have been studying. I was no good at math beyond algebra. I flunked French four times in college. I had no patience for memorization, but I could easily remember words I responded to. In college a chart of my grades resembled a mountain range. My first real newspaper job came when my best friend's father hired me to cover high school sports for the local daily. In college a friend told me I must join him in publishing an alternative weekly and then left it in my hands. That led to the Daily Illini, and that in turn led to the Chicago Sun-Times, where I have worked ever since 1966. I became the movie critic six months later through no premeditation, when the job was offered to me out of a clear blue sky."Visit "I was born inside the movie of my life" to read the opening pages from Roger's forthcoming memoir to be published September 13, 2011.
"I believe that if, at the end, according to our abilities, we have done something to make others a little happier, and something to make ourselves a little happier, that is about the best we can do. To make others less happy is a crime. To make ourselves unhappy is where all crime starts. We must try to contribute joy to the world. That is true no matter what our problems, our health, our circumstances. We must try. I didn't always know this, and am happy I lived long enough to find it out." - from LIFE ITSELF
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Marie writes: the ability to explore an image in 360 degrees is nothing new, but that doesn't make these pictures any less cool. In the first of a series, the Observer's architecture critic Rowan Moore introduces spectacular interactive 360-degree panoramic photographs of Britain's architectural wonders. "You are put in the middle of a space, and using your computer mouse or dragging your iPad screen - you can look in any direction you choose: up, down, sideways, diagonally, in any direction in full 360 degree turn, in three dimensions."
Go here to explore St Paul's Cathedral, London, built 1675-1711.
Take a look at all that's going on in the image above. Who is talking? What are the relationships between the characters? How much is packed into this one frame?
Since it came out last fall, I'd almost forgotten what an exhilarating information-overload experience David Fincher's "The Social Network" is. Cut and composed and performed with breathless, jittery speed, it's a movie that consists of virtually nothing but conversations in rooms (the attempted, missed, short-circuited, coded connections that struck me when I first saw it). It's action-packed -- enough to give you whiplash, watching all the elements interacting within the 2.40:1 widescreen frame -- even though there are no "action sequences" (car chases, shootouts, fist fights, acrobatic stunts, etc.); the filmmaking is charged with energy without falling back on today's routinely frenetic, handheld run-and-gun/snatch-and-grab camerawork (the camera is generally mounted on a tripod; when it moves, it's on a crane or a dolly -- often for establishing shots or a shift in perspective that brings a new element into the frame). Smart, quick, efficient.
The crunchy guitar riff starts over the Columbia Pictures logo and then the crowd noise comes up, the music drops down, and before the logo fades to black and the first image appears, we hear Mark (Jesse Eisenberg) speaking the movie's opening line -- a question that's also a challenge: "Did you know there are more people with genius IQs living in China than there are people of any kind living in the United States?" What follows is a blisteringly fast-paced screwball comedy exchange ("His Girl Friday" through a 64-bit dual-core processor) between Mark and his girlfriend (not for very much longer ) Erica in which nearly every line is a misunderstanding (intentional or unintentional), a sarcastic jab, a leap of logic, a block, an interruption, a feint, an abrupt shift in the angle of attack, a diversion, a retreat, a refinement, a recapitulation (I'm sure there are many fencing terms that apply to the various conversational strategies employed here)...
The first thing that happens after Erica (Rooney Mara) breaks up with Mark Zuckerberg (Jesse Eisenberg) in "The Social Network" is that he goes back to his residence hall. It's a long, long walk, even though Mark takes it at a clip that's closer to running. Why, after the rapid-fire skirmish in the opening scene, would the movie take so long to simply get Mark from the Thirsty Scholar, just off-campus, to Kirkland House?
Well, for one thing, it's an opportunity to roll the opening credits. But at one point this was envisioned as the most extravagant sequence in the picture -- and that's saying a lot, given that it was directed by David Fincher ("Fight Club," "Zodiac," "The Curious Case of Benjamin Button"). According to Michael Goldman's cover story in the October issue of American Cinematographer, the whole trek was designed to be accomplished in one long take, with multiple cameras stationed along the route. The footage (if you can still call it that, when the images are being captured on 16GB CF cards) would then be stitched together in post-production to create one seamless shot. There's even a satellite map of the course in the magazine.
"When an individual enters the presence of others, they commonly seek to acquire information about him already possessed. They will be interested in his general socio-economic status, his conception of self, his attitude toward them, his competence, his trustworthiness, etc. Although some of this information seems to be sought almost as an end in itself, there are usually quite practical reasons for acquiring it. Information about the individual helps to define the situation, enabling others to know in advance what he will expect from them and what they may expect from him. Informed in these ways, the others will know how best to act in order to call forth a desired response from him." -- from "The Presentation of Self in Everyday Life" by Erving Goffman (1959)
Relationship status: Interested in: -- Facebook (2004)
The actual Mark Zuckerberg is said to have taken fencing when he was at Harvard. That's what the movie Mark Zuckerberg is doing in the opening scene of David Fincher's "The Social Network" -- only he's doing it with words and attitude, over a beer at the Thirsty Scholar, with his soon-to-be-ex-girlfriend. The verbal thrusts and parries, feints and ripostes, zip by at 4x fast-forward. It's like a compressed version of an Aaron Sorkin screwball comedy dialog scene, written as self-parody. Only not quite. The speed and affectlessness is part of Mark's code, and part of his character's DNA.
Once you adjust to its breakneck tempo, the scene becomes a fascinating back-and-forth about communication in code, and the infinite ways it can misfire. "The Social Network" is about a lot of things -- notably the American social and economic system, built on class privilege, money, networking, sex, entrepreneurialism, self-presentation/self-promotion; and the age-old patterns of friendship, misunderstanding and betrayal between collaborators in any creative or business enterprise -- all of them forms of code, understood by insiders and incomprehensible to outsiders. Mark has a valuable insider's understanding of computer code, but is an outsider when it comes to most of these other areas. And yet he has an acute analytical intelligence that allows him to deconstruct these codes and notice elements that others who are closer to them might take for granted.