If you’re not laughing out loud and often, you are simply not paying attention. This is a movie that’s “politically incorrect” in every way, but oh, it’s just so funny. And yeah, I know Melissa McCarthy is basically playing the role she often plays, the slightly over-sexed and out-of-control loony but she plays it better – and bigger – here. And while Sandra Bullock seems to be overacting a bit especially in the beginning, as soon as you recognize that’s coming from the two-by-four she’s jammed up her rear end so she can get promoted, you just go with the flow.
World War Z is Contagion recast as a family story with the plague causing zombies. The story is predicable, but still there are tension, suspense and some of the best editing and most frightening crowd-replication effects I’ve ever seen.
For seventy years, the Lone Ranger has been about “…a fiery horse with the speed of light, a cloud of dust, and a hearty Hi-Yo Silver…” Here, it’s about mugging for the camera, massive special effects, and a meandering story that features Tonto more prominently than his trusted companion, Kemo Sabe.
This year the buzz at CineEurope seemed to be all about alternative content, or event cinema as it’s being increasingly referred to. As chair of the ECA it’s difficult to gain real perspective from the eye of the storm but having seen the business grow from an occasional add-on for exhibitors to a serious revenue stream in more recent years, the sense in Barcelona last month was that in event cinema, the possibilities are endless and the sense of real excitement was tangible. Everyone from major studios to major cinema chains to independents to technical partners seemed keen to know more, hear more, do more to exploit this established and still growing revenue stream.
When an action movie script on a tight budget included such challenges as close-ups of mixed martial arts fighting, a high-speed car chase shot from a low-flying helicopter, and low-light location scenes, director of photography, David E. West, knew the solution was to capture it all using a Canon Cinema EOS C300 digital cinema camera, a Canon EOS 5D Mark II Digital SLR camera, and EF-Series lenses. Having used the EOS C300 camera on a previous assignment, West was enthusiastic about its portability and low-light advantages. He also owned an EOS 5D Mark II camera, and was a fan of Canon lenses both for photography and for shooting reality TV. West decided from the outset that the ambitious visuals needed for Blunt Force, a new film from director Daniel Zirilli, would make this an all-Canon project. Shot on location in Mississippi, the movie tells the story of an ex-soldier imprisoned and forced to be part of an Internet cage-fighting club.
While on location shooting the documentary about traditional silk weavers, Silkies of Madagascar, award-winning National Geographic stills photographer and video director David Evans decided to make the leap to Director of Photography.
Schneider Optics has introduced an iPro Lens for the iPhone 5. In addition, the system now offers a larger family of lenses, including a new Macro and Super Wide.
When Space Shuttle Atlantis, the newest attraction at Kennedy Space Center Visitor Complex in Cape Canaveral, Florida opened to the public on June 29, a new chapter in the story of interactive AV design for the themed entertainment industry was written.
Renowned artist Clifford Ross incorporated Maxon Cinema 4D software technology in the design process of The Austin Wall, a monumental and unprecedented stained glass work housed at the new United States Courthouse in Austin, Texas.
When shooting his recent independent feature Heads We Do, cinematographer Andrew Huebscher faced challenges including a tight budget, a 15-day shooting schedule, exterior night scenes, and the need for outstanding motion-picture image quality.