Alfonso Cuaron
More stories
-
The Definitive Original Screenplays: 40-31
As we continue to move forward through the list, let us consider: how do you define an original screenplay? In theory, everything is based on something. Woody Allen’s Blue Jasmine is basically a modern A Streetcar Named Desire. But, somehow, Jasmine is classified as an original screenplay. When a film is wholly original, nothing like it […] More
-
BAFTAs 2014 – and the winner is… (Part 1)
It’s that time of the year again when the British Academy of Film and Television Arts celebrates the best of the cinematic world. With the awards taking place just shy of a month before the Academy Awards, it is time to start making those all-important predictions. Part 1 will cover: – Best British Film – […] More
-
Watch: Jonas Cuaron’s ‘Gravity’ Spinoff Short Film ‘Aningaaq’
During a pivotal scene in Alfonso Cuarón’s Gravity, Sandra Bullock’s character Ryan Stone finds herself running out of hope when trapped inside a Russian space capsule. During the sequence, she makes contact with a man down on earth who is speaking in a foreign language. What unfolds on the other end of that broken conversation, […] More
-
Six Female Lead Choices Who Would’ve Made ‘Gravity’ a Better Film
As Alfonso Cuaron’s mega-hit Gravity continues to rack up praise and big box office dollars, it’s a good time to take a critical look at the weakest aspect of the film, which is the lead acting performance of Sandra Bullock. It’s widely known that Cuaron’s first choice, Angelina Jolie, fell through and there were reported […] More
-
-
-
-
‘Gravity’ – Sound On Sight Podcast #367 with guest Alex Billington
In another remarkable collaboration with longtime cinematographer Emmanuel Lubezki and visual effects supervisor Tim Webber, Alfonso Cuaron has pushed the relevant technologies to their limits in order to tell the story of Gravity, a space oddity starring Sandra Bullock as Dr. Ryan Stone, a brilliant medical engineer on her first shuttle mission. Today on Sound On Sight, […] More
-
‘Gravity’ a visual stunner that lacks character complexity
By now, Alfonso Cuarón has pretty much earned the crown of being one of the best, if not the best, technicians in modern cinema. His last three films—Harry Potter and the Prisoner of Azkaban, Children of Men, and now Gravity—all demonstrate a playful and intelligent command of space, his camera always roving in, around, and out of locations whenever possible. Gravity raises the bar for technical prowess in mainstream filmmaking, and Cuarón doesn’t shy away from the challenge of a film set entirely in space. This is nothing short of a flawless technical exercise, a frequently intense and relentless theme-park ride of a movie. The real downside is that Cuarón could’ve made more than just a ride. More
-
Shot Block: Alfonso Cuaron’s ‘Gravity’
Now that Alfonso Cuaron’s long-in-the-making sci-fi spectacle Gravity has smashed its way through Venice and TIFF (it’s astounding), its detractors have raised two major objections: first, that its spectacle comes at the expense of its emotional content; second, that its lengthy, whirling camera movements are self-conscious and barely motivated, summarized by Nick McCarthy for Slant […] More
-
TIFF 2013: Watch the Entire Press Conference for Alfonso Cuaron ‘Gravity’
The Gravity promotional tour kicked off in Venice and later Telluride, but over the past week, the reviews from the Toronto International Film Festival have been overwhelmingly positive. James Cameron has already gone on record to calling it “the best space film ever done,” and our very own John McEntee called it, “a thrilling, jaw-dropping […] More
-
TIFF 2013: ‘Gravity’ is a thrilling, jaw-dropping special-effects showcase
In 1902, the French screen pioneer Georges Melies made Le Voyage Dans La Lune, an interstellar breakthrough in special effects and fantastical imagination that beguiled and bewildered audiences. Since that film, the science-fiction genre has passed through evolutionary wormholes every decade or so, due to the pioneering cognition of the likes of Fritz Lang, Stanley Kubrick, Andrei Tarkovsky, and, from a purely technological standpoint, James Cameron, where the very mechanics of cinematic representation and realization are docked with technical advances in optics, film stocks and lenses, or the crushing and retexturing of digital blizzards of zeroes and ones and post-production manipulation as the medium moves from physical celluloid to analog abduction. More
Load More
Congratulations. You've reached the end of the internet.