Typical for
modern films of this nature, the action scenes are filled with shaky handheld cinematography and rapid cuts that mean there often isn't a single well - framed shot in the whole sequence (and if there is it lasts about a nanosecond before being replaced by one that isn't).
Not exact matches
The experimental
nature of the
film also proves a charm, the ten minute shots make interesting viewing and a high budget cyclorama backdrop that includes the empire state building makes the
film look much more
modern than anything else from the 1940's.
Cillian Murphy, who played Scarecrow in the Dark Knight trilogy, compares the grounded
nature of Christopher Nolan's
films to
modern superhero movies.
Spike Jonze's return to the feature director's chair (and first time bringing a script he wrote entirely by himself with him) after a four year break is a thoroughly layered and personal
film that is at times about the awkward
nature of new relationships after a break up (and how we cope with that crushing in - between time), and at times about how technology shapes our
modern world, and at times about how we demonstrate and understand love and relationships changes with both time and technology.
Blue Valentine is a love story for our times - a
film which examines the elusive
nature of love and the weighty burdens
of commitment, while also examining the complexity
of modern gender roles and new attitudes about the bonds
of marriage and family.
by Walter Chaw Stop on any single frame
of Alfonso Cuarón's remarkable war idyll Children
of Men — a
film that's rarely in repose, sometimes seeming composed
of one long, frantic shot — and I suspect the sharp - eyed, educated viewer would be able to cull a reference to
modern art, most likely one about men reduced to their base animal
nature.
But, more importantly, there is an enduring
nature of the
film which leaves it both resonant and involving in ways that
modern animated works all too often are not.
Screening: Au Hasard Balthazar at
Film Society
of Lincoln Center Featuring a star turn by Anne Wiazemsky, who died earlier this year at age 70, Robert Bresson's Au Hasard Balthazar (1966) has earned its place in
film history for its rigorous, at times clinical look at the
nature of fate and pain in
modern society.