Jurassic World: Fallen Kingdom
This is a movie that’s annoying in part because it doesn’t care if you’re annoyed by it. It doesn’t need you, the individual viewer, to…
* 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.
A review of TNT's The Alienist, premiering January 22 at 9 ET/PT.
I packed my bags last night, pre-flight Zero hour, 9 a.m. And I'm gonna be high as a kite by then. -- Elton John & Bernie Taupin, "Rocket Man" (1972)
Cinema, for me, has always been something like music composed with photographic images. Others see it more like "action painting," and we've seen a lot of discussion in recent years about what J. Hoberman and others have called "post-photographic cinema," in which computers have replaced cameras, and animation has replaced photography, as the primary means of creating images on a screen. (Hoberman: "With the advent of CGI, the history of motion pictures was now, in effect, the history of animation.") "Flight" is Robert Zemeckis's return to live-action photography for the first time since "Cast Away" (2000), after a series of IMAX 3D animated adventures: "The Polar Express" (2004), "Beowulf" (2001) and "A Christmas Carol" (2007). It's also a return to making movies aimed at an adult audience -- and one that proved to be a different, and more interesting, than the movie I'd seen advertised in the trailer.
Marie writes: I have no words. Beyond the obvious, that is. And while I'm okay looking at photos, the video.... that was another story. I actually found myself turning away at times, the suspense too much to bear - despite knowing in advance that he's alive and well and there was nothing to worry about. The bottom of my stomach still fell out...
(click images to enlarge)
I am a dreamer, a traveler, a student, a teacher, a friend, a stranger, an Asian, a Canadian, a daughter, a woman, a photographer, a model, an immigrant, a citizen, a writer...but these are all just labels, and they wouldn't begin to tell you why I have an infinite love for hole-in-the-wall bars and coffee shops and black & white everything, or why live music of any kind just captivates me, or how Chinese novels move me in a way so deep that I wish every person in the world could understand the language, or why I can never ever hold back a smile watching the sun rise on a different continent.
Traveling is a huge part of my life, as is writing. With a pen and a backpack, I've had some of the most memorable moments of my life at some of the most random corners around the world.
If traveling is how one experiences reality, then writing is how I weave my dreams. It has always been the most natural, intimate, and truest expression of myself. And we all just want to tell our own stories in this lifetime, don't we?
It's like breathing, and as clichéd as that sounds, how can you explain why you need to breathe?
"The Hurt Locker" represents a return to strong, exciting narrative. Here is a film about a bomb disposal expert that depends on character, dialogue and situation to develop almost unbearable suspense. It contains explosions, but only a few, and it is not about explosions, but about hoping that none will happen. That sense of hope is crucial. When we merely want to see stuff blowed up real good in a movie, that means the movie contains no one we give a damn about.