There’s little doubt my six or so loyal readers gobbled up Part One at a single sitting and, barely satiated, started pounding silverware on the table demanding more destruction porn. Let me oblige posthaste. As you’ll recall, we critiqued Hollywood’s take on nuclear explosions in six films: Asteroid City, The Dark Knight Rises, The Day After, Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, Failsafe and Fat Man and Little Boy. Let’s now light the fuse on our next five!
Category Archives: Technical
Frigid Winter Warming Spectacular: Best Nuclear Explosion! (Pt. 1)
Inspired by tense family holiday gatherings (and a recent rewatch of Oppenheimer), let’s turn our attention towards ranking Hollywood’s most memorable depictions of nuclear explosions, the kind of conflagrations I’d welcome with open, melting arms considering the temperature in my hometown hasn’t muscled its way past zero going on three days now. #wintersucks
Road to Perdition: The Art of No Dialogue
Being such a visual medium, it often surprises me how rare it is to come across a movie scene that dispenses with dialogue and instead leans on visuals (and soundtrack) to tell the story, often with more impact than any amount of character blabbing could ever achieve.
Atomic Blonde’s 7-Minute Staircase Fight as Narrated by Audio Description for the Blind
Revisiting this virtuosic scene recently, it occurred to me that someone working for the American Council of the Blind (ACB) had to describe the action, presumably with a straight face, for its Audio Description Project, which, as I’m sure you know, provides the visually impaired with “high-quality audio description in television, movies, performing arts…and other venues where the presentation of visual media is critical to the understanding and appreciation of the content.”
Cinematography & Editing: Unique Insights into Two Critical Cinematic Arts
As revealed by my admission that the first laserdisc (RIP) I ever purchased was the documentary Visions of Light, anyone who reads this blog knows that I’m a nerd for the art of cinematography.
Apocalypse Now: A Smorgasbord of Thoughts
Been a while. Bike accidents, vacations, life, etc.
Anyway, went to see Apocalypse Now (1979) the other day at Chicago’s Navy Pier IMAX, which, unlike the local multiplex version of the format (snarkily referred to as “LieMax”), happens to be the real deal (60’H x 86’W
Vertiginous and Virtuosic: A Celebration of Great Heights
Recently, I dragged Mrs. CFS to a documentary called Free Solo, the one featuring Alex Honnold, who is, quite simply, an athlete without peer, maybe the greatest ever.
For those who don’t know, Honnold, 33, is a free soloist, which means he climbs sheer rock walls with no ropes, no crampons, no carabiners, no parachutes, no jetpacks, no nothing to arrest his fall if he makes even the teeny-tiniest mistake.
Mishima: A Life In Four Chapters — Paul Schrader’s Generally Unseen Masterpiece
With writer/director Paul Schrader currently in the news for his critically lauded new film, First Reformed, it might be a good time to discuss one of his earlier efforts, one known to about five people outside of The Criterion Collection enthusiasts and a favorite of yours truly since checking it out on VHS back in the late 1980s.
RIP Anne V. Coates
It’s doubtful that many of you will recognize the name Anne V. Coates. Such is the lot of a film editor, unknown to all but a handful of film geeks as he or she toils in the shadows of an editing suite, sweating over hundreds of thousands of feet of film (or nowadays, digital image capture), shaping it one cut at a time into something resembling a tightly paced, coherent narrative.
The Art of Cinematography: Roger Deakins
Since first laying eyes on the famous General Cinema Feature Presentation bumper playing across the screen in a darkened theater — this as a grade schooler back in the mid-70s — I’d been unabashedly captivated by movies. But it wasn’t until later in the decade that my appreciation for a film’s carefully wrought visuals began to make an impression. The year was 1979, the flick Carrol Ballard’s take on the famous Walter Farley children’s novel,