Showing posts with label Year 2 Transcription Movie Reviews. Show all posts
Showing posts with label Year 2 Transcription Movie Reviews. Show all posts
Saturday, 14 April 2012
Friday, 23 March 2012
Wednesday, 14 March 2012
Sunday, 11 March 2012
Friday, 2 March 2012
Wednesday, 15 February 2012
Movie Review - Paprika
Paprika looks at the non-linear world of dreams and how they can be attacked and influenced by other people's ideas that effects the dreamer. 'As in other sci-fi pics featuring technology that can record thoughts, such as Kathryn Bigelow's "Strange Days" or David Cronenberg's "eXistenZ," the borders between reality and imagination keep getting blurred, creating a narrative Chinese box dreams within dreams. Playful use is made of movie allusions and general cinematic imagery building up to a reasonably nightmarish climax where, natch, Tokyo is nearly destroyed.' (Felperin, 2007) Towards the start of the film it seems obvious to the viewer which is reality and dream but then reality twists to start mixing with the horrors of the carnival and the chairman bleeding through. The carnival is the idea/ the attack that slowly infects and creeps in to other occupant's dreams that symbolises how the mind is delicate and how it could be controlled by an external force. The film uses basic fears to make the dreamscapes even more disturbing by planting in strange laughing dolls and an army of toys that walk on a march as on an actual invasion converting anything in it's path. As the film progresses, the dream images such as the Chinese doll child and Tokita in robot form start to attack the real Tokyo to demonstrate what was one subconscious has become physical and out of control. The viewer visualises the morph of the two realities through the characters losing their identity and becoming part of the carnival and through the chairman driven mad to control it.
Figure 2, (2010), Detective Kogawa's dream
The symbolism of dreams comes across clearly in the character of Detective Kogawa Toshimi, who continuously visualises himself in different film spoof scenarios and haunted by his past.‘That's the way it is with "Paprika," an R-rated anime film that takes full advantage of animation to explore the characters' dreamscapes and the segues between those scapes and the narrow escapes the characters have in "real life." '(Plath, 2007) Kogawa' dreams symbolise his work in the film industry and how he tried to escape from it. The cycle of dream images occur repeatedly in the film, that try and give clues to the viewer of why the character has always been put in the same scenario's that spoof other films such as Tarzan and Film Noir. Kogawa's story runs parallel with what happens in the dream terrorism sequences because at the end of the film the viewer discovers that Kogawa's jealousy for his director partner held back his confidence. This resulted in an incomplete film but the other man reveals that Kogawa is the central character of that film as has been living a life of fiction , which again questions the audience's belief of what was the real world and what was the dream.
Figure 3, (2011), Paprika spliting to show true form of Atsuko
The character Paprika is an alter ego of the research scientist Chiba Atsuko and appears as two completely different people so that as Paprika, she can be friendly and help patients to recover from their mind illnesses. 'Parika asks, "Who shall control our dreams?," which, given this film's take on the cinematic nature of the unconscious, is really asking, "Who shall control the movies?" (Denby, 2007) This relates to how in dream realities, the boundaries and limitations can be broken, to allow Dr Atsuko to become an entirely different personality and become part of various patients worlds that they have conjured in their minds as it is simply a place of fiction. The boundaries are tested further when Kei splits the butterfly form of Paprika to as she were a chrysalis to reveal the true pureness of Atsuko that has been hiding inside. Also in the Tokyo scene both personalities appear in the same realm and there still seems to be a connection between them as a person but Paprika takes command of herself as if she has become her own identity but then rejoins Atsuko to suck away the evil of the chair man. Atsuko learns that meddling with dreams brings it's own consequences.
Illustrations
Figure 1, (2007), The Carnival Dream bursting through all dream realities, @ http://cinepinion.bravehost.com/paprika.html, Accessed on: 2007
Figure 2, (2010), Detective Kogawa's dream, @ http://www.animecrazy.net/paprika-images/573/Image/3544, Accessed on: 16th January 2010
Figure 3, (2011), Paprika spliting to show true form of Atsuko, @ http://www.ferdyonfilms.com/?p=9304, Accessed on: 30th March 2011
Bibliography
Denby David, (2007), The New Yorker - Not Kid's Stuff - Paprika, @ http://www.newyorker.com/arts/critics/cinema/2007/05/28/070528crci_cinema_denby?currentPage=2, Accessed on: 21st May 2007
Felperin Leslie, (2007), Variety Reviews - Paprika, @ http://www.variety.com/review/VE1117931477?refcatid=31, Accessed on: 25th May 2007
Plath James, (2007), Movie Metropolis - Paprika Review, @ http://moviemet.com/review/paprika-blu-ray-review, Accessed on: 8th December 2007
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| 2.5/ 5 |
Wednesday, 8 February 2012
Movie Review - Akira
Akira focuses on the themes of Post - Apocalyptic power and the consequences of becoming consumed by it. The character Tetsuo begins as an ordinary teenage boy as part of the biker group that Shotaro belongs, however he is then captured and experimented on by a top secret government that unleashes raw psychic power that enhances Tetsuo from the person he was before. 'In between these mind-blowing bookends is a sprawling, cyber-punk epic haunted by the ghost of Hiroshima and Nagasaki, and obsessed with the unchecked power of the human mind and youthful rebellion. It's also a wistful depiction of a friendship changing beyond all recognition.' (Newman,2008) The past events of Hiroshima and Nagasaki are strong influences for a great destructive force and how it tears the people apart from the ones scared of consequences and the others who are drunk with the power in their hands and believe they are doing good. Tetsuo becomes insane as his power shifts his personality from what he once was to a man who is no longer dependant on other people to protect him. The character is shown to break his chains and weaknesses of being told what to do, so that he becomes his own power and shape the world as he chooses. Towards the end of the film, Tetsuo becomes controlled by his power as it mutates him into a gigantic blob that slowly absorbs himself and anyone that comes into contact, this represents how people can loose control of their power if they are fuelled by rage and unaware of the destruction that they have caused.
Figure 1, (2011), Tetsuo developing his psychic abilities
The environment of the Neo-Tokyo has been uniquely designed to fit the world of the futuristic fantasy. 'The limitless nature of animation remains purpose-fit for this city-raising futuro-fantasy about a floppy-fringed retinue of cyberpunk bikers and their dealings with a group of telekinetic sages.' (Jenkins, 2011) The style has carefully connected the characters and environment to the story of the animation giving the impression of futurism and advancement of technology, human advancement. This makes the cyberpunk world of the animation and the telekinetic possibilities seem right with the fresh look of the colours and lights. Influence of Tokyo today has also been taken in account in the layout and design to capture the overbearing but impressive city scape and the strong connection of giant screens and advertising. 
Figure 2, (2011), Neo –Tokyo
The animation takes great detail to connect certain areas of the story to show the viewer the psychological and physical impacts of destruction and what replaces it. 'Visually, Akira is stunning. The way smoke billows, engulfing everything like a growing amoeba; the attention to detail; the shafts of light that tie parts of the story together all give the film a truly distinct look.' (Munro, 2010) Tetsuo's dreams/ visions are one tie in that allows the viewer to experience how the character's mind slowly transforms as he is haunted by his fears from when he was orphaned as a child and bullied as a child which leads in Tetsuo finally overcoming the restraints of the three telepathic children to change the perception of what he fears to become an individual that is feared by others. Akira's destructive power at the end of the film creates the impression of the strike of the Hiroshima bomb and what chaos it left it's wake. The characters Shotaro and Kei show the reactions of people struggling through these events and a beacon of hope against the hidden government secrets of 'Akira' and the rising power of Tetsuo and how they adapt towards their responsibilities and what they are prepared to do.
Figure 3, (2012), Akira’s destruction
Illustrations
Figure 1, (2011), Tetsuo developing his psychic abilities, @
http://realotakugamer.com/akira-live-action-remake-canceled-fans-rejoice,
Accessed on: 14th July 2011
Figure 2, (2011), Neo –Tokyo , @ http://www.frontrowreviews.co.uk/dvdblu-ray/akira-blu-ray-review/9807,
Accessed on: 4th August 2011
Figure 3, (2012), Akira’s destruction, @ http://www.aceanimeworld.com/gallery.php?fol=Pictures/Akira/,
Accessed on: 2012
Bibliography
Jenkins David, (2011), Time Out London - Akira Movie Review, @ http://www.timeout.com/film/reviews/77646/akira.html, Accessed on: 28th June 2011
Munro Donald, (2010), Eye for Film - Akira Movie Review, @ http://www.eyeforfilm.co.uk/reviews.php?id=8745, Accessed on: 6th July 2010
Newman Kin, (2008), Empire - Akira Movie Review, @ http://www.empireonline.com/reviews/reviewcomplete.asp?DVDID=7729, Accessed on: 10th March 2008
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| 3/5 |
Wednesday, 1 February 2012
Movie Review - Mary and Max
This animation is centred around two central characters Mary and Max who both feel abandoned and distant to the rest of the world. “Mary's random encounter with a telephone directory, and their exchange of letters swiftly emerges as the emotional lifeline for their unhappy existences.” (Pulver, 2010) The audience discovers links through the friendship that reveal how the characters have had their own tragic lives because they don't fit in the world around them as they don't fully understand it or the other people that chose to ignore them and treat them differently. Mary and Max characteristic traits are parallel as they begin both miserable on opposite sides of the world. The fate that brings these characters together creates the feeling of acceptance and a chance to help each other achieve their goals and hopes. This process is played out with Mary writing the first letter and waiting for the reply from Max, the viewer watches the slow progression of the bonding of the characters play out to a point where they become dependant on the letters and treats that bring light to the character's isolation.
Figure 1, (2011), Mary and Max writing to each other
Mary and max was created by the Australian director and animator Adam Elliot, who has adopted the stop motion style of claymation that gives the animation it's charm. "The themes are nicely complemented by Elliot's animation style, which is full of wonky cityscapes and misshapen characters, something that gives this oddball story a lovely, tactile, handcrafted feel." (Harkness, 2010) Elliot has stylised his world and characters so that the viewer can make a clear distinction between the life that Mary has in Australia and the busy and built world up of Max's life in America. The crafted approach of the clay makes the style of the world seem vulnerable and hyper realistic to get the viewer to feel different responses to certain characters. Mary has been made to appear as a cute and innocent child that has a curiosity about the rest of the world and asks Max these questions as he is the only person that Mary can approach with these fascinations. In contrast, the alcoholic Mother and Mary's childhood bully are both an exaggeration of grotesque and dark characteristics as another side of human nature that are among the lives of Mary and Max that the viewer can relate to in their lives.
Figure 2, (2009), Max
The emotion in the animation transition together to create moments of depression that the characters face and the feelings of joy as their lives try to improve according to the choices they made.
"...Mary and Max emerges as a tale that's both funny and sad, with Elliot's screenplay finding a perfect emotional pitch throughout. The film's animation style is distinctive and hugely imaginative, employing a wonderful use of colour (Mary's gifts introduce bright hues into Max's grey world) and some great visual gags, but it ultimately succeeds because of its resonant central story.” (Concannon, 2010) The values of colour choice are strong to describe of individual characters, one example is the grey world of New York where Max lives and the fact that Mary loves the colour brown describes the dull tone in the beginning of the character's loneiness. The gifts are colourfully to suggest that they are trying to cheer up the other by brighting their dull worlds that Max and Mary are trapped in. The 'visual gags' help to humour auidence to give them an insight of their lively personalities that come to life in thier letters to each other. It also creates distinction of the much darker scenes such as Mary falling into depression where she feels that the few people who loved and cared for her has been abandoned. She therefore feels sucidel which is represented through a dark room and flashes of picture frames of what Mary has lost, also this is represented through a slowly physical change of Mary becoming her alcoholic mother.
Illustrations
Figure 1, (2011), Mary and Max writing to each other, @ http://www.sloughfilmsoc.org.uk/Windsor%20Fringe/windsor_fringe.htm,
Accessed on: 26th September 2011
Figure 2, (2009), Max, @ http://www.empireonline.com/features/23-buzz-films-at-sundance-2009/24.asp,
Accessed on: 2009
Figure 3, (2010), Mary almost giving up, @ http://366weirdmovies.com/capsule-mary-and-max-2009,
Accessed on: 2010
Bibliography
Concannon, 2010,
The Skinny, Independent Cultural Journalism – Mary and Max, @ http://www.theskinny.co.uk/film/reviews/100546-mary_max,
Accessed on: 20th October 2010
Harkness, (2010), Scotsman.com - Mary and Max review, @ http://www.scotsman.com/news/film_reviews_mary_and_max_involuntary_the_hunter_the_kids_are_all_right_1_826613, Accessed on: 28th October 2010
Pulver, (2010),
Guardian UK – Mary and Max review , @ http://www.guardian.co.uk/film/2010/oct/21/mary-and-max-review,
Accessed on: 21st october 2010
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| 4/5 |
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