We here at The Fourth Wall are taking another look out our favorite film work from 2010 in the hopes that we can help get some deserving folks nominated. Some of our picks are long shots (my Best Original Screenplay nomination hasn’t a snowball’s chance in hell), while others may in fact be locks. But the point isn’t to highlight the obscure… it’s to highlight the truly deserving.
So where exactly are the good videogame movies? They’re everywhere, if you know where to look. They’re just not based on videogames. With TRON Legacy in theaters this weekend, Dan Fields and I (William Bibbiani!) thought this would be a good time to explain why the best videogame movies – so far – aren’t based on a specific videogame. These are movies that capture the distinctive feeling of playing a great videogame or expertly dramatize concepts unique to that medium, something the directors of actual videogame movies rarely seem to grasp.
Heroes don’t HAVE to be boring stand-ins for the audience (I’m looking at you, everyone who casts Shia LaBeouf). They can be compelling characters overcoming hardships, psychological turmoil and overwhelming odds to save not merely the day but rather their own self-worth. Heroes can be inspiring figureheads, neurotic losers and everything in between. Heroes can be wonderful, but for some reason many of them – often in otherwise very good (or at least popular) movies – again, just plain suck.
The Weekly Listicle presents Scary Movies For The Whole Family. Not kids movies with Halloween themes, and not the kinds of movies that will traumatize your kids for life and keep you up all night as they suffer through sugar withdrawals and nightmares, but great Halloween movies that kids can enjoy without feeling pandered to. Trust me, parents… They’ll thank you for it later.
There may be an Academy Award for “Best Original Song,” but where’s the love for all the other songs that films so desperately depend on? It’s hard to believe now, but there was once a time when motion pictures weren’t chockablock with Top 40 pop hits. In the past 50 years or so this has become a common practice (some people blame Martin Scorsese, but I think even Scorsese would point a finger more emphatically at Kenneth Anger), and for every movie like The Bounty Hunter that demonstrates little concern for song choice or placement there are plenty of films and television series that put a lot of thought in selecting just the right song for the right moment. Maybe it’s on the nose, maybe it’s ironic, or maybe it’s just jarring and weird, but there’s a lot of mileage to be gained from using a familiar tune in an unfamiliar way.
Well, here we are… 3/4’s of the way through the year and the Academy Award nominees are almost completely up in the air. Sure, the major nominees are usually held off until the last few months, but with ten Best Picture nominations up for grabs you’d think there would have been a greater effort to find cream in the crop. Inception seems like a lock for Best Picture, as does Toy Story 3 and maybe a few acting nominations for Winter’s Bone, but seriously… it’s looking grim.
Any sequel that gets us thinking about our lives, loves and futures is already a good idea, and that got us thinking here at the California Literary Review. We see so many unwanted, half-conceived sequels in the movie industry, but are there any sequels we actually want to see, yet somehow haven’t been made? Prepare yourself for this edition of The Weekly Listicle, in which Julia Rhodes and I (William Bibbiani) think would be a good idea, and not just a quick cash-in (I’m looking at you, Paranormal Activity 2).
They exist to make money more than tell a story, and are fully satisfied to merely distract an audience rather than actually entertain or – heaven forefend – enlighten them. In this installment of The Weekly Listicle, Julia Rhodes and I (William Bibbiani!) present ten films, in no particular order, that insulted your intelligence… and expected to be rewarded for it.
Six seasons have come and passed, but now this Sunday, May 23rd, ‘Lost’ finally comes to an end… and if this season has been any indication it’s probably going to be pretty disappointing. So, Julia Rhodes and I (William Bibbiani!) present to you our list of The Worst Endings Ever Ever, just to get into the spirit.
Excellent costume design is flattering, practical, thematically appropriate and iconic, and our choices for the Best Costumes Ever Designed are no exceptions.
Although the trope existed beforehand in literature (for what else, really, was “The Fellowship of the Ring?”), most film portrayals of elite teams in some way play off of the Seven Samurai dynamic, or at least Rififi’s, which in 1955 brought the concept into the world of the heist thriller. Since then there have been no shortage of classic teams, from Danny Ocean’s famous “11,” to the famed “Impossible Mission Force,” to the smooth-as-water space cowboys of the illustrious Bebop.