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    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

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    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

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    ‘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

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    ‘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

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    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

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    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

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