I want to start this review by telling you how much I admire the work of British director Ben Wheatley. “Kill List”, a bleak and violent tale released in 2011, was an auspicious directorial debut, but it was with the pitch-black comedy “Sightseers” that he really got my attention, punching me hard in the face with witty dialogues, provocative weirdness, and the unpredictability of its story. In 2013, Wheatley changed direction when he released the black-and-white art-house horror-drama “A Field in England”, which kept a stabbing sarcasm on top of the stunning visuals. “High-Rise”, a somewhat blurred adaptation of J.G Ballard’s 1975 novel of the same name, divided both film critics and fans. Yet, I was still fond of all its oddness. Now, I have to point out how frustrated I am with Wheatley’s new feature “Free Fire”, a Tarantino-esque gangster-western set in the 70s Boston that doesn’t offer much more than the constant, annoying sounds of guns being fired. The screenplay, co-written by Wheatley and his regular associate Amy Jump, lives exclusively from the shootouts between two groups involved in an arms deal. There are so many gunshots throughout the 90 minutes that the tension gets lost in the confusing, bloody …show more content…
A woman named Justine (Brie Larson) was assigned to act as an intermediate and facilitate the transaction. The gangs arrive at a warehouse to proceed with the business but things get out of control when Harry (Jack Reynor) recognizes Stevo (Sam Riley), the one who had abused of his 15-year-old cousin the night before, sending her to the hospital. Tension rises exponentially, ending up in a never-ending collective shootout that is triggered after Harry sticks a bullet into Stevo’s shoulder. The warehouse is transformed into a bloody battlefield where everyone, with no exception, has the eyes put in a suitcase full of
Jim Jarmusch, the writer and director wanted to make a film around Forest Whitaker; to make use of his large powerfiul figure and appearance while yet still having a softer side within his manner of speech. So after taking in Whitaker?s interests in ancient tradition and martial arts, he added other ideas from his own interests to form the story of an assassin stuck within the genre?s of Marti...
The plot of this movie is about the struggle between the farmers and the cowboys. The farmers all want to start up crops, but the cowboys want to run their cattle through the open space so they can feed. Obviously, the two sides don’t agree. The cowboys end up attempting to use strong-arm tactics to get their way. They even try to scare the farmers off the land by burning down one of the homes of the farmers. Eventually, Shane, a former gunfight, realizes what he must do. He rides into town and kills all of the cowboys, including Wilson, the hired gun.
The screenplay by Ichirô Fujita does a great job in bringing together a large number of complex relationships, while keeping things simple enough that you do not get lost in the
2: Miller, Gabriel. 'Shane Redux: The Shootist and the Western Dilemma', The Journal of Popular Film and Television, Vol.11, No.2, Summer 1983.
By showing us the characters of Pando and his gang in what appears to be a secluded section of scrub late at night, holding a bloodied and bruised Jim at gun point sets the scene for the genre of film we are about to see. The lighting, more accurately the lack of proper li...
Within the German Democratic Republic, there was a secret police force known as the Stasi, which was responsible for state surveillance, attempting to permeate every facet of life. Agents within and informants tied to the Stasi were both feared and hated, as there was no true semblance of privacy for most citizens. Directed by Florian Henckel von Donnersmarck, the movie The Lives of Others follows one particular Stasi agent as he carries out his mission to spy on a well-known writer and his lover. As the film progresses, the audience is able to see the moral transformation of Stasi Captain Hauptmann Gerd Wiesler primarily through the director 's use of the script, colors and lighting, and music.
The story is composed of three main short stories about two hitmen, a gangster’s wife, a boxer, and a pair of diner bandits with brief linking moments in between. The main characters are Marcellus Wallace (Ving Rhames) a crime boss who sends his hitmen Jules Winnfield (Samuel L. Jackson) and Vincent Vega (John Travolta)
Most people can be able to recognize the uniqueness an innovative spirit of Edgar Wright movies, even though they do not know a thing from cinema. This is the result of an outstanding work on a film that results with impeccable aesthetics in every single aspect of the creation and production of a film. For your knowledge, the film on which this paper is based on can be seen by everyone since it is available on Netflix, Hot Fuzz. Yes, Hot Fuzz will be the film dissected on this paper, taking about its unique cinematography, editing, acting, and directorial work.
Trendy directors Justin Benson and Aaron Moorhead (“Resolution”, “Spring”) return to their trippy hallucinations deeply connected to enigmatic cults and sinister characters. However, their induced fear of the unknown, otherworldly paranoia and suicide fascination simply don’t convince me.
Ben Wheatley’s ‘Free Fire’ is a magnificent blood-soaked romp that is equal parts captivating and witty.
It is no doubt that Martin Scorsese has heavily influenced the emulating of American film making from European influences. He is a prime example of a ‘New Hollywood Cinema’ director, not only from his ethnicity and background, but from his sheer interest in this form
The reclusive film director Terrence Malick has to date, only directed a small number of films. His twenty year hiatus between directing Days of Heaven (1978) and The Thin Red Line (1998), may provide the explanation for such a sparse back catalogue. Malick’s refusal to talk with the media, has led to hearsay, as to how he occupied his time during the hiatus. Malick’s directing debut Badlands (1973) is a collection of concepts, all carefully moulded together to create one iconic piece of film. This process draws in and also alienates the audience. Malick’s style is positively noted by critics to be influenced by European philosophy. This is clearly due to Malick’s study of philosophy at Harvard and Magdalen College Oxford. There is no given explanation to the mindless violence featured within the film, mainly due to the films resistance to the straight forward approach. The familiar and the unknown are carefully merged together. The only way of gaining an understanding into the hidden meanings within Badlands is by breaking down the film, by looking at the characters, the use of sound, the visual setting and the films genre. The illusionary effect of Malick’s style means that all is not as it seems.
Livingstone, Paisley & Carl Plantinga. The Routledge Companion to Philosophy and Film. London: Routledge – Taylor & Francis Group. 2009. Print.
In recent decades, many have argued that the line between realism and fiction in cinematic endeavours has become increasingly blurred. It has not been until recently that the world has truly been exposed to this completely innovative cinematic style, which has captivated audiences with its new approach to filmmaking. This new cinematic style was first introduced in Eduardo Sánchez and Daniel Myrick’s The Blair Witch Project. Here I will focus on breaking down the various levels of realism within The Blair Witch Project, in order to convey why it had such a monumental impact on the cinematic world, while still remaining a popular and modern horror film to today’s audiences. In order to achieve this I will pay particular attention to the style of filming, the clever marketing campaign and the combination of fact and fiction, which helped captivate even the most, experienced of cinemagoers.
This thesis assignment will highlight and discuss certain areas of the works created by auteur filmmaker Terrence Malick. He is undoubtedly one of the most brilliant writer-directors of our time, if not of all time, and his genius manifests itself in the style and themes of his films. Malick’s academic background and pre-filmmaking studies can be said to have informed his films. Therefore, this essay will firstly explore the nature and content of his studies, which will be drawn from to provide evidence for later discussions. Secondly, this paper will dissect two of his films, namely The Thin Red Line (1998) and The New World (2005), in order to identify said style and themes and to find common threads in Malick’s characters, messages and filmmaking techniques across these films.