The Future of Cinema As We Know It… Exclusive Avatar First Look

ghm101 — Fri, 11 Dec 2009 07:31:28 +0000

What does a director do after making the highest grossing film of all time? He takes a break for a while. It’s been a decade since the last time a feature film appeared in theaters with James Cameron‘s name listed as its director, though considering the last time it was attached to the end of Titanic, it’s no small wonder that his latest project has accumulated this level of hype. What do you do to follow up one of the most successful films ever released? Cameron seems to think the answer lies in state of the art digital technology and the application of such special effects to a sci-fi adventure on a truly epic scale. He also made it in 3D. Ambitious? Clearly. Does it pay off? Find out:

Avatar Review

By Ryan Hamelin

Movie Grade: A+

Robert Zemeckis, eat your heart out. I have never been the kind of person who is prone to the use of hyperbole. Sure, something will be “awesome” or “fantastic” or “terrific” but I never think anything is so great as to be crowned “best ever”, “most innovative”, or “phenomenal.” Today I was proven wrong. Today I saw the future of cinema, and its name is Avatar. The kind of movie that defines not only the time period of its release, but an entire generation of moviegoers. An experience the likes of which I have never had before, with any movie, and I can only theoretically compare to what it must have been like to see the original Star Wars back in 1977. To walk out of a theater and know, as strongly as I do now, that there is an almost limitless possibility resting just beyond our grasp, is not something I can find words for. James Cameron has seized the curtain and thrown it wide, letting the light pour in upon the unsuspecting masses. My only regret is that it will be another 2-3 years before anyone else has the confidence to attempt to follow in his footsteps.

For the first time, the concept of a 3D movie has a worthwhile reason to exist. The world that Cameron has created here is unparalleled by anything celluloid has presented before, from the dark recesses of the jungle to the blinding cloud cover in the mystical floating mountain ranges. It’s all beautiful, and completely realistic, despite your brain attempting to process that everything you are seeing was manufactured as a series of zeros and ones. The first few minutes are a bit of an adjustment period, and Cameron knows this, concentrating on grounded and emotional beats that bring the dimensionality of the 3D to an appropriately relevant level. As everything settles down, you feel yourself letting go of your own reality, sliding seamlessly into the universe in front of you.

And what an amazing place Pandora is. From the countless animals to the gorgeous plant life as far as the eye can see, this is a planet which could only exist in the mind of a true visionary. We are all guests to Cameron’s imagination, and I look forward to snatching as many tickets back as I can get my hands on. It’s a living and breathing world, and you cannot see where the lines meet. The virtual and the real have become forever blurred through a combination of incredibly detailed art design and a dedication to performance which puts all other “motion-capture” exercises to shame. I hate to hold this film up to something like A Christmas Carol because they’re not even playing the same sport at this point. If Spielberg intends to utilize these techniques for his Tintin film, that particular project will have jumped to the top of my Most Anticipated list.

The actors are all wonderful. Sam Worthington has officially earned his place as Hollywood’s newest powerhouse lead, and Zoe Saldana is a treat to watch, even if we never see her in the flesh. Sigourney Weaver and Giovanni Ribisi have an incredible chemistry in their few scenes together, and there is no doubt in my mind that the film could never have worked to begin with were it not for the acting talent on hand. When so much detail is captured by a computer, it makes the animation team’s jobs undeniably easier, and you can tell from the results that every frame has been lovingly composed to recreate the original actor’s performance. The story works in much the same way, retaining a wholly classic framework with all the necessary narrative beats while rearranging and reorganizing the sequencing of those scenes so as to appear spontaneous and surprising at almost every turn. You won’t know what will happen next, but as soon as it does happen, it will feel perfectly right on every level and you’ll wonder how else anyone would have thought of writing it. The script is that good. After almost a decade in development, we’d rather hope it would be.

Avatar is the real deal, the kind of epic advancement in filmmaking that only happens when an amazing creative team is paired with an equally talented and driven group of researchers and technicians who work around the clock to bring the dream to life. As Cameron is fond of saying “we pushed the envelope, and the envelope pushed back.” The film is a testament to that final success, a wonder of storytelling and special effects wizardry that will leave you feeling transported, elated, and in love with movies all over again. It’s been a long time coming, but the next great movie masterpiece has finally arrived.

It’s That Time of Year Again… First Look at Robert Zemeckis’s A Christmas Carol

ghm101 — Wed, 04 Nov 2009 19:11:28 +0000

After the success of The Polar Express and its annual re-releases, it was a sure bet that somebody else would look into adapting a piece of classic holiday fair with the slightly creepy CG motion-capture technique. Few thought, however, that it would be Robert Zemeckis, the director of the aforementioned film, looking to rebound from the box office disappointment that was his Beowulf adaptation. Have they finally fixed the eyes? Will Jim Carrey be relevant again? Have you seen this story too many times, or will the IMAX 3D be enough to bring you back to the theater? Find out below:

A Christmas Carol Review

By Ryan Hamelin

Movie Grade: A-

Well that sure wasn’t the movie I was expecting to see when I walked into the theater. Granted, I didn’t have very high hopes of Robert Zemeckis’s retelling of the single most adapted story ever written, and I’m still not a hundred percent behind his belief in motion capture as the future of the medium, but for the first time he’s actually provided me with solid evidence of what the technology has under the hood and it is truly breathtaking. Not Avatar breathtaking to be fair, but far beyond anything you saw in The Polar Express or Beowulf.

Lets begin with the good. The 3D transfer is subtle enough to avoid pandering to the classic tropes of children’s fare where things pop out of the picture obnoxiously or characters push themselves through the screen and into the audience. The depth exists, but isn’t forced on the viewer, and has more of a living painting aesthetic than something out of a creepy wax museum diorama. The flying sequences, and there are several, are among the best uses of 3D I’ve witnessed, really harnessing the sensation of hurtling through the air to an almost unsettling degree. My bet is that it will be just as beautiful in 2D, just without the added rush.

Jim Carrey’s Scrooge is undeniably a perfect fit from both a casting and conceptual level. You can see every facet of the performance emanating through the character, and for an actor like Carrey who thrives on his lack of subtlety, the honesty and simplicity of the acting here is the foundation of the believability of the entire world. Everything hinges on us indentifying with old Ebenezer, and thanks to the artists working overtime behind the scenes, we are able to do so like never before.

The script itself is also a wonderful adaptation of the source material, drawing heavily on the kind of dialogue that feels as though it was imprinted in our cultural upbringing since birth. There is a definite comfort level at work here, and even when the film strays from the beaten path on occasion, we never get the sense that the tangents aren’t serving the story, unlike many sequences in Zemeckis’s previous Christmas themed exploit. He serves as both writer and director here, and the loving care behind every shot is a wonder to behold. Sure we have one unnecessary chase sequence involving a transformation of physical size, but it can be forgiven in an otherwise wonderful retelling.

The bad here is never truly awful, but is just enough to slide this one out of contention for the greatest production the story has ever known. The aforementioned chase sequence not withstanding, there are plenty of moments where the motion-capture just doesn’t work very well. It’s surely more hits than misses this time around, and it can be so incredibly lifelike, but at its worst it still looks like some variation on the Play-doh your younger relatives may be busying themselves with during the film’s darker moments. It doesn’t skimp on the creep factor either, and is faithful to a lot of the scarier elements of the original story. In some cases, it may be too dark for extremely young kids, but at the same time, parents really need to grow a pair in regards to sheltering their sons and daughters. Of all the things your kids could be watching, at least A Christmas Carol is a terrific story, and the frightening scenes work to make the conclusion all the brighter. It’s a timeless tale, and this is one version which will surely be around for years to come.

Climbing Higher Pictures » Robert Zemeckis

The Future of Cinema As We Know It… Exclusive Avatar First Look

Avatar Review

By Ryan Hamelin

Movie Grade: A+

It’s That Time of Year Again… First Look at Robert Zemeckis’s A Christmas Carol

A Christmas Carol Review

By Ryan Hamelin

Movie Grade: A-