And this is continuing:
- Transformers: Age of Extinction (2014) – Dir. Michael Bay: Starting my month off properly.
- From Russia With Love (1963) – Dir. Terence Young
- Night of the Creeps (1986) – Dir. Fred Dekker
- Goon (2012) – Dir. Michael Dowse
- Slap Shot (1977) – Dir. George Roy Hill
- The Prisoner:”Free for All”; “Dance of the Dead” (1967) – Dir. Patrick McGoohan; Dan Chaffey
- The Moth Diaries (2011) – Dir. Mary Harron
- Twin Peaks, Season 2 Eps. 2-3 (1990) – Dir. David Lynch; Lesli Linka Glatter
- The Treasure of the Sierra Madre (1948) – Dir. John Huston
- Waltz With Bashir (2008) – Dir. Ari Folman
- Prince Valiant (1954) – Dir. Henry Hathaway
- The Jungle (2014) – Dir. Andrew Traucki: Another garbage found footage movie.
- Blood Widow (2013) – Dir. Jeremiah Buckhalt
- Tammy (2014) – Dir. Ben Falcone
- Grown Ups 2 (2013) – Dir. Dennis Dugan
- Alien (1978) – Dir. Ridley Scott
- Aliens (1986) – Dir. James Cameron
- Predator (1987) (again) – Dir. John McTiernan
- Sleepaway Camp (1983) – Dir. Robert Hiltzik
- Dawn of the Planet of the Apes (2014) – Dir. Matt Reeves
- Veronica Mars (2014) – Dir. Rob Thomas
- Homefront (2013) – Dir. Gary Fleder
Total: 22 (YTD: 104)
One of the things I paid more attention to in July was lighting. Good lighting can make a film tactile. Lot of films don’t utilize this to its full capability: Tammy and Grown Ups 2 (most comedies, really) are adequate, I guess, but everything looks flat and monotone, like the lights used for the backgrounds don’t match the lights used for the actors; Veronica Mars: The Movie gets this right in night scenes, which have that urban, neon sheen which was a hallmark of Joel Silver’s 80s flicks, adding a level of danger even to talking scenes (i.e. Kristen Bell’s face being lit by streetlamps when she and Jason Dohring are driving across a bridge), but most the film is shot in the oddly blue-tinted daytime which marks a lot of TV dramas. Then there’s movies like Homefront or Blood Widow where it’s the best (technical) part of a crappy film (and Homefront overdoes it, sometimes saturating the screen with lens flare so you can’t see what a character is doing).
As with a lot of production elements, Aliens is king here. That shot of Hicks at the top, lit by dual sources (the emergency light and the lamp) is not only aesthetically pleasing, but the 360-degree coverage of actor and setting lends the scene an urgent realism which pulls the viewer in (“immersion,” as the PR people like to say)(and it’s not just this scene, either, it’s the whole movie, especially notable in the green-screened moment of Ripley and Newt on the platform as the reactor is ready to blow, lightning and fireballs light up both background and foreground. In great films, everything’s considered).
Even better: the red light used in this scene–where the xenomorphs get past the barricades–signifies imminent danger. Panic sets in amongst the cast as the motion tracker shows the aliens getting closer, closer, closer, before finally everyone looks at the ceiling panels in a horrific moment of realization. The lamp enters the frame as Michael Biehn climbs up to find out for sure. For a few, brief seconds, the blue dominates the frame, tension mounting as he (and we) face the unknowable, the inevitable. Biehn turns his head, and the red overtakes the scene again. Cue the aliens, climbing forward from shadows. Then the shooting starts.