One thing I really, really love is using old technology to create new things in a way more streamlined and successful processes can’t fully capture.
In the same way that adding digital film grain to your camcorder movie will never match actually shooting on 35mm, it’s a completely different feeling when you listen to electronic music that uses chiptune samples versus using tracker technology to make chiptunes that can actually run on the hardware they are designed for.
And one of my absolute favorite uses of old technology is ancient, antiquated 19th-century photography equipment in modern day.
Yeah, I’m sure someone with a powerful enough digital camera and enough time spent in photoshop can replicate most of the feeling of a daguerreotype or talbotypes or, as this article is about, tintypes. But with very few exceptions, it won’t be close enough to the real thing.
Case in point, in 2014 and 2015, movie stars at the Sundance Film Festival were captured with tintype cameras. The results are striking and gorgeous, and most of all completely authentic.
I don’t know what it was about 2018 that made movie studios stampede in and decide that this would be the year, that this would be their grand artistic statement to the masses, but for some reason, they went and did it.
They made an entire year filled to the brim with idiot movies for morons. Gigantic, mega-sized movies consisting of dumb bullshit and gleefully stupid nonsense. Blockbusters whose only purposes were to entertain and to befuddle.
Everyone remembers the moment Avengers came out and changed cinema forever. I’m sure it was widely expected that, after the rousing success of the first two Iron Man movies and the decent runs by the first Thor and Captain America, this whole Marvel Cinematic Universe experiment was going to work. A crossover between a bunch of popular movies into one big adventure was always going to be a hit. But just how much of a hit, I’m not sure anyone could have guessed.
website redesigns. Even when the redesigns are pretty damn good and
add some sorely needed features, like most of Youtube’s, there will
always be a ton of complaints for a short time afterwards from people
who aren’t yet used to the changes.
And it can get
annoying when websites (namely those run by Google) are constantly
updating, changing around visual design and icon placement and
destroying your muscle memory a couple times a year for the sake of
theoretically improving its layouts.
But there is one instance where a website redesign was done with malicious intent and ended up destroying an entire internet hobby, and that’s Box Office Mojo.
The case of terrible January
dump movies, file #407.
It is well-known movie lore that every January sees the release of a half-dozen or more horrible, wretched, vile movies that studios greenlit, financed, and then realized had absolutely no business being heaved onto the people of the world outside of contractual obligations.
Rise of the Planet of the Apes was a good movie that worked as a nice prequel to a classic film franchise while also standing alone as a sci-fi monkey drama.
Dawn of the Planet of the Apes was a great movie that kicked everything up a notch and went into far greater emotional depths while being a true blockbuster experience as well. However, it worked so well partially because of how standalone it was from its predecessor. The human cast does not return, and our cast from the original have character arcs independent of those they had in the original movie.
This opening scene, then, acts as a bridge between those movies, but also as its own standalone art piece of a pandemic growing and human society collapsing. The peaceful globe-spinning graphics mixed with the increased panic of the archival footage makes for an unnerving intro that firmly sets the tone for the rest of the film.
Sequels do these sorts of “recap the previous movie” intros all the time, but rarely do they succeed on an artistic level all their own. Dawn of the Planet of the Apes is special.
My Netflix account was erased
in December. Gone, wiped out, completely reset to zero.
It had been almost exactly ten years since my family began using Netflix. When we first started using Xbox Live in January 2010, achieved by rigging a 100-foot ethernet cable across two rooms into the router box, its main use almost immediately became streaming Netflix. Sure, Halo 3 and Inside Xbox were important in our household, but the Xbox 360’s primary purpose was to stream movies and TV shows.
Listen, I’m not about to attempt to explain this movie to you because you won’t believe me even if I did. I’ll just say that Night is Short, Walk on Girl is a bonkers film, probably Masaaki Yuasa’s best work yet, and absolutely one of the most visually excellent films of the 2010s. Cinematic maximalism.
Also, can we just stop and reflect on just how prolific Masaaki Yuasa has been in the past ten years? He started off with a bang with The Tatami Galaxy in 2010, then two more series, Ping Pong in 2014 and Devilman Crybaby in 2018, plus the brand-new Keep Your Hands Off Eizouken! that started just this January. Then he has released THREE theatrical films–Night is Short plus Lu Over the Wall and Ride Your Wave (which premieres in the U.S. next month in a one-night event; go see it!). Add in all the other weird stuff he’s been going and you have one of the most productive men in the realm of animation. And all of it is great, somehow. Let’s hope he keeps this up in the 20s!
2013 was the beginning of a renaissance for the Star Wars fandom. With the waning days of the post-Episode III Expanded Universe and the recent sale of Lucasfilm to Disney, things were about to change dramatically for the franchise and its massive fanbase. But in 2013, things were still simmering.
And with that simmering came the Auralnauts Jedi Party Saga…
The Academy faces the same problem every single year–it relies on big TV audiences to pay for its extravagant awards ceremonies, but thanks to declining TV viewership and unexciting awards ceremonies, ratings keep sinking and money keeps dropping. But everything it does fails.