Spiritual and earthy, forged in curiosity yet fortified with empathy, The Rider is
why we go to the cinema, and it affirms Chloe Zhao as one of the most gifted new movie artists of our time.
At the opposite end of this spectrum, buried under fifty feet of crap is Martin Campbell's Green Lantern; a film so caught up in its dazzling 3D special effects (and they are impressive) that it is completely and utterly devoid of the real reasons
why we go to the cinemas.
Why go to the cinema to see something that feels so much like a telemovie?
«That's
why we go to cinemas, where it's dark and the sound's great.
Not exact matches
My local
cinema had 24 screenings of the thing on Friday night, so I picked one of the many sell - outs and
went along on my own
to watch it and try
to figure out just
why it is so popular.
But on the other hand, when I meet students and enthusiasts at screenings and they say, ««Jesse James» really affected me» or ««Jesse James» is
why I want
to be a cinematographer» — you only have
to have a couple of comments like that and it makes up for all those people that didn't
go to the
cinema to see it for whatever reason.
When: November 2nd
Why: Anyone who knows anything about Wu Tang Clan founder RZA is that he loves kung fu
cinema, so you can be sure that his directorial debut is
going to be nothing short of a love letter
to the genre, albeit one with a hip - hop soundtrack.
Recent
cinema has been rife with object lessons on
why it's probably better
to risk angering fans of source material rather than sacrifice momentum (look no further than Watchmen), so it stands
to reason that Azkaban benefits from having taken the road less traveled, even if it wasn't the way that the original fans wanted it
to go.
But I'll be damned if Dunkirk is not exactly
why film
cinema and the act of
going to the movies will never die.
They dig further back into
cinema's history than you might think and
go through the tropes of this subgenre
to try
to explain
why people like this kind of movie so much.
Every now and then a movie comes along that reminds you
why you fork out a tenner
to go to the
cinema.
In his excellent screenwriting book, Save The Cat, Blake Snyder provides the answer
to an important global mystery...
why did no one
go to the
cinema to see Lara Croft: The Cradle of Life?
Now, this isn't like Dolby Digital vs DTS, both formats could
go on one disc or stream, but
why do we always have
to have this absurd level of complication in home
cinema.