Star Wars: When Doves Cry (A Meme Story)

Introduction 

The other day this notion occurred to me. Posting the pics on other social media sites where it may be seen out of order seemed wrong. I’ve already spent too much time thinking about it, so I warn you: don’t over-analyze and enjoy (or not, whichever)!
   

       

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Updates 5/4/2015: Here, There, and Everywhere

Introduction

One thing I was aiming to avoid when starting my own page was being a slave to the cinematic news cycle. Not that there’s anything wrong with following industry headlines, and I usually comment on things I find compelling on Twitter. However, yesterday and today there has been a synergistic confluence of fantastic news, in my estimation. Therefore, when the bad news occurring in threes trend is reversed, I feel it should be fodder for my first update post in quite some time. So it’s what’s new on the site and the four bits of film news.

Blog News

MovieRatLogo2_1200x600

Yesterday I posted a new blogathon contribution.

The recent BAM Awards Considerations post was more appropriately populated.

Music Video Monday and Free Movie Friday will return soon.

Follow my Letterboxd as I may add the My Radar post there as a list. Also, other themes where I plan on doing year-round viewing will be viewable there too.

Also check out out all four of the new About pages if you’re so inclined.

Star Wars

VisionOntv-StarWarsTheEnvironmentalistsVersion608.mp4

Yes, it was just May the fourth and the forthcoming Episode VII played into it big time by releasing new images and information here.

Also recently it was announced that the Anthology films will be Rogue One, directed by Gareth Edwards. Rogue One centers on the Rebel plot to steal plans for the Death Star.

Star Wars: Episode II - Attack of the Clones (2002, 20th Century Fox)

It was also confirmed that the second anthology film, which Josh Trank just departed as director, will be about Boba Fett.

Pennywise cast for new adaptation of Stephen King’s It

Will Poulter (2013, Interview Magazine)

I don’t usually like to get into a casting decision that may still be in negotiations, but the idea of Will Poulter (Multiple BAM Award Winner) as Pennywise in the forthcoming two-part It film from New Line and director Cary Joji Fukunaga is so brilliant I have to applaud it repeatedly.

Recent Birthday Celebrants Making News

Ender's Game (2013, LionsGate)

Asa Butterfield (April 1st), BAM Award Winner for Ender’s Game, has been cited on the leaked shortlist of candidates to be the next Spider-Man. A few publications cite him as the favorite. If this does come to fruition, it’s awesome news.

Bobby Coleman (May 5th) appears to have a new title Momo announced per his IMDb page. Considering some of the notices I’ve given Coleman (which you can see below) it’s a wonder this is his first credit since 2013, and that title was long-in-the-can.

In The Haunting Hour:

What buoys this episode is the prosthetic work, the voice over of the creature, its conclusion and most importantly Bobby Coleman‘s performance, which may be the finest of the series to date.

In Cody the Robosapien:

As per usual, Bobby Coleman, as the young lead, is fantastic and a standout in this cast. He buoys the title much more than most would deem possible, and more than most actors his age could possibly hope to.

In The Last Song:

Most impressive in the film is Bobby Coleman, best known to some as the title character in The Martian Child, who plays the younger brother in this film and delivers a very compelling performance. Towards the end he does quite a bit of crying and considering this is his second tear-jerker style movie it can now be said with no exaggeration that his abilities as a crier now rank amongst the all-time greats, rivaling even Bobs Watson.

Conclusion

It’s been too long since I posted an update, I will try to do this more regularly in a free-flowing manner.

BAM Best Picture Profile: Star Wars: Episode II – Attack of the Clones (2002)

Each year, I try and improve the site, and also try to find a new an hopefully creative and fun way to countdown to the unveiling of the year’s BAM Awards. Last year, I posted most of the BAM Nominee and winner lists (Any omissions will be fixed this year). However, when I picked Django Unchained as the Best Picture of 2012 I then realized I had recent winner with no write-ups. I soon corrected that by translating a post and writing a series of my own. The thought was all films honored as Best Picture should have at least one piece dedicated to them. So I will through the month of December be posting write-ups on past winners.

NOTE: The 2001 winner was covered extensively in a very long series starting here.

Star Wars: Episode II – Attack of the Clones (2002)

Basically I will here, as I have done with a few of these posts, synthesize not only my writings on the given film, but also discuss my personal history with the film. And understanding where I’m coming from with both Star Wars and the prequels is key to at least cutting me a stone if not understanding and agreeing with what I say here.

Here’s a brief intro to my history with Star Wars and why I didn’t even think I’d like this one that much in the first place:

I saw the Star Wars prequels first. Having never felt the urge to see the originals, and then hearing about the prequel concept which was popularized, if not invented by, Lucas – I wanted to watch the movies in the story’s chronological order. So I waited until 2005 to see the original trilogy. After having seen The Phantom Menace I just didn’t get the appeal, but I stuck it out and went to see Attack of the Clones and then I got it – Star Wars – Episode II: Attack of the Clones is awesome. The Phantom Menace was just not that good at all and it never will be no matter how many times I watch the film. Star Wars – Episode II: Attack of the Clones won the BAM for Best Picture in 2002 (BAMs are my personal movie awards – look out for those here next year).

So allow me to continue what I discussed with regards to Invalid complaining about the prequels in general:

Here’s where my watching the series knowingly in chronological, so far as the narrative goes, order starts to factor in. This is one of the most over-debated and over-analyzed aspects of the entire saga. You can like or dislike it as you please, but I really don’t see the point in getting all up in arms about this point, when you have so many you could possibly choose from. Granted you implement things in the prequel trilogy that don’t follow through to the original and it removes an element of mystery but how much does it really detract? Furthermore, to parlay the filmmaker point above, it was introduced when the prequels were very much Lucas’s design, as concessions may have been made later on, so clearly he had it in mind. So it may not fit your vision but it fit his. Essentially, if one if offended by the very notion of the prequels they ought not waste time on this factoid. Conversely, if this is your biggest issue with the series that’s not so bad or you’ve blown it way out of proportion.

I later realized I probably saw snippets of them growing up, but that’s not really seeing them. And having seen these first things like midi-chlorians which were later introduced are easier for me to stomach as a “late-series” change.

Now while I will always defend Jake Lloyd from the lynch mob, I agree The Phantom Menace is no great shakes. However, a few things bear considering: the first is that if you think there are problems with that film he’s one of the very small ones, there are others. Next, oddly enough, and my brother and others in his generation are a testament to this; Lucas really did make that one for kids. In essence, he always did, at least to the kids in adults. Over the years while no new follow-ups emerged the legend ballooned, the grandiosity, importance and gravitas foisted upon the series by fans sky-rocketed.

To such an extent that when I saw The Phantom Menace, with no prior frame of reference, I was like “That was OK, but I don’t see what the big deal is.” When Attack of the Clones came out – that’s when I started to see what the big deal was. The 2002 BAM Awards are a testament to that.

While you can sit there and write-off the awards as a newfound fanboy heaping love on his new pet if you want some things are separate from the film that were awarded merely on technical and artistic merits of the work done. Williams’ scoring in this film remains one of my favorites in his canon; arguing against ILM on a Lucasfilm project is folly; cinematography in CG-heavy films does matter (perhaps the Academy was a bit misguided in choosing Avatar to recognize that notion, but it does). And wooden dialogue or not this film does move wonderfully and has great situations and is a bifurcated tale of romance and political intrigue. It plays much closer to its serial film roots here.

It’s also a film I’ve revisited very often since I saw the original films and given the chance to do this year over again I doubt I’d change my mind.

Don’t You Recognize Me: Joel Edgerton

This particular entry is a bit different than prior ones in the series inasmuch as this one occurred while I was re-watching the Star Wars prequels. As I didd I saw the young version of Lars and thought to myself, “He looks familiar.” I’ll admit to a brian-cramp because he hardly looks much different at all, but surely enough it’s Joel Edgerton whose star and profile has been consistently rising over the past few years.

Star Wars: Episode II- Attack of the Clones (2002, 20th Century Fox)

Film Thought: Why I Balk at the Megaticket Experiment

Not too sound too much like a get-off-my-lawn-type but I did have a few thoughts on the recent Megaticket trial for World War Z.

Now, as much as possible, I will separate these thoughts from my thoughts on the film itself.

As many have pointed out, it’s fairly ironic that this trial occurred about a month after Steven Spielberg and George Lucas spent quite a bit of time speculating on the future of films, and Spielberg made the observation that moviegoing in a theatrical setting was heading the way of the Broadway musical becoming cost-prohibitive for the average consumer. This ticket hit half the $100 bogey he set.

And this is what the $50 got you:

included a ticket to a 3D screening of the movie on June 19, two days before the film’s release; one HD digital copy of the movie when it becomes available; one pair of “World War Z” custom RealD 3D glasses; a full-size limited-edition movie poster and a small popcorn

World War Z (2013, Paramount)

My first issue is that if you look at the cost per item, you’re about breaking even but reserving the right to own everything right away (They claim $75 in value. If that’s true they’re overvaluing the glasses and digital copy to me). However, you get no soda and you get no physical version of the film.

I’m not going to say I’d never parttake in a megaticket experience (the early screening is likely the most enticing in this now/future film culture that exists). However, if I were to do it I would more likely shell out the money for a DVD/Blu-ray combo and a title that was pre-sold to me.

I honestly still have issues believing World War Z was pre-sold to anyone. Yes, the novel had quite a following, but it was widely reported that this was an adaptation in name only. So for something say like Star Wars: Episode VII, I might consider it. Otherwise it’s going to take me a while to get on board.

The inclination is already for the studios to forgo risk-taking, if we, the movie-crazed minority, will jump at the opportunity to give up even more cash per head than we already do we’re further ensuring the studios’ business plan and endangering theatrical attendance.

Not too be overly-alarmist but it’s not hard to foresee the slippery slope this could lead us down. Make sure we don’t redefine what an event film is. Some releases may be worth this treatment but not most, and certainly not all.

The Lone Ranger’s Unbankable Intrigue

At the beginning of Matt Zoller Seitz’s review of The Lone Ranger he encapsultes exactly what’s right and wrong with the film in my eyes:

Like “Speed Racer” and “John Carter” before it, “The Lone Ranger” is a movie with no constituency to speak of. It’s a gigantic picture with a klutzy, deeply un-cool hero (Armie Hammer of “The Social Network”), based on a property that most young viewers don’t know or care about. It arrives in theaters stained by gossip of filmmaker-vs.-studio budget wars, and concerns that its star and co-executive producer, Johnny Depp, would play the Ranger’s friend and spirit guide, Tonto, as a Native American Stepin Fetchit, stumbling around in face-paint and a dead-crow tiara. The film’s poster image might as well have been a target. Too bad: for all its miscalculations, this is a personal picture, violent and sweet, clever and goofy. It’s as obsessive and overbearing as Steven Spielberg’s “1941” — and, I’ll bet, as likely to be re-evaluated twenty years from now, and described as “misunderstood.”

You really should read the whole review it’s simply replete with brilliant observations about the movie, but what struck me most was that beginning wherein it enumerates not only kind of how I walked out of the film feeling but also what was miscalculated about it in terms of its being a tentpole.

The Lone Ranger (2013, Disney)

As I tweeted when the numbers started coming in, and I should’ve put it out there earlier, you could’ve seen the box office failure of the film coming. It was a film that almost didn’t happen and after John Carter flopped you thought it might not. It’s almost like they went back to a well that ran dry hoping to find water this time because they brought Johnny Depp along.

Lack of Bankability

The Lone Ranger (2013, Disney)

Not to sound too crass, as I did like it, but clearly the same inherent issues that John Carter had in terms of bringing out the masses The Lone Ranger was sure to have. It seems tiresome but every time there’s some sort of box office bomb it makes me want to list who is involved. Yes, there are still plenty of good actors and movie stars, but guaranteed draws are very few.

Off the top of my head it seems only Tom Cruise and Adam Sandler get people to show up, but even Cruise had the under-viewed Jack Reacher just recently. As with Sandler, I have to wonder how much of that is morbid curiosity because after seeing Grown Ups 2 I wanted to curl up into the fetal position, weep and wish it was still 1999.

So, in spite of the fact that this film also is a good one, likely a much better one than John Carter, I never saw it as a money-maker. I couldn’t have predicted how insanely Despicable Me 2 would open (It really is Universal’s year it seems; R.I.P.D. notwithstanding) but in a vacuum this is not one I had high hopes for in that regard.

Disney Issues

The Lone Ranger (2013, Disney)

It’s even more frustrating because if you follow what Disney does you know they acquired Lucasfilm and will be bringing Star Wars back. Sure that cost a lot of money both in acquisition and the production of the five announced films, but could they just grin and bear it for a while and know they’ll see a return on that investment, especially with the Marvel leviathan growing ever bigger? No, they just had to gut their hand-drawn animation staff.

Yes, hand-drawn is costly, but it did all begin with a mouse and all those investments will yield dividends but you can’t forget where you came from. New Mickey cartoons are great but it’s bittersweet to say the least.

Reflexive Western

The Lone Ranger (2013, Disney)

Back to The Lone Ranger, as for the film itself, it’s constructed in such a way that we can likely go back to it and start parsing the visual cues and narrative references to diagram the deconstruction of the western, as Zoller Seitz does and this review does.

It takes an old character, and perhaps a cynical, nihilistic advantage of older connotations of Disney films and toys with expectations and creates this The Lone Ranger perhaps the only way he can exist now and re-creates Tonto perhaps as he always should have been.

Does Depp being Depp undercut some of the commentary being made on race and the old west, Manifest Destiny and all the rest? That was something I grappled with as the film played. In the end, I don’t think it does for narrative perspective has to be taken into account. This is really Tonto’s story from the opening shot to when he tells The Lone Ranger to “Never do that again,” after finally breaking out the anticipated (by those who know something of the character) catch phrase “Hi-yo, Silver, away!” at the very end.

The Lone Ranger (2013, Disney)

There’s lamentation and regret from both characters in this tale: The Ranger for his lost ideals, and Tonto for his naive mistake. In some ways the film plays like a lament of the loss of the old Western, not the Old West. When film and society was more naive the Western was the canvas of absolute ideals, as we’ve come to terms with our past as a nation and further world events have stripped that naïveté; the Western had to grow up. The films are now adult tales for adults who remember the genre as children and don’t cater as well to a young audience anymore because it’s not really in the pop culture landscape anymore, not for kids.

While this allows the film to do some interesting thing in terms of commenting on genre, history, race, the country in general; it’s not box office material, especially considering the amount of money invested in this film.

Lastly, the character of Tonto, for how it used to be portrayed, is likely a racist symbol to many. Honestly, the only exposure to the character I had as a kid was in SNL parodies of Tonto, Tarzan and Frankenstein. I don’t think there will be a consensus of where this rendition falls. All I know is in culturally sensitive matters there is never a unanimous sentiment and hardly ever a consensus. From my perspective, as one who had my defenses up waiting for something that crossed the line, I really don’t think it did. Especially when the tribe s introduced and explains Tonto’s story.

The Lone Ranger (2013, Disney)

When one went in not knowing what to expect it was far too easy to be caught off-guard by the film; far too easy too take it at face value as over-produced, overly-expensive fluff, but there’s more to it than meets the eye, which is what makes it interesting even if it won’t make it profitable.

Top 10 Movies I Can’t Believe I Liked

This is a list I originally posted on my prior site. I don’t think I’ve found newer, better examples; so the choices remain the same. Below you’ll find 10 films that for one reason or another I had no expectations going into, but ended up liking.

10. The Shining (1980)

The Shining (1980, Warner Bros.))

I first saw this film in cinema class as a freshman in high school. Until I saw this film I never really enjoyed being scared, and I hated horror movies. In a class setting it must’ve taken three days to watch it and I was riveted as if I watched it in one viewing and I looked forward to it every day. It was Kubrick‘s The Shining (which I like better than the book) that got me to read Stephen King and ultimately made me fall in love with horror.

9. Star Wars – Episode II: Attack of the Clones (2002)

Star Wars: Episode II - Attack of the Clones (2002, 20th Century Fox)

I saw the Star Wars prequels first. Having never felt the urge to see the originals, and then hearing about the prequel concept which was popularized, if not invented by, Lucas – I wanted to watch the movies in the story’s chronological order. So I waited until 2005 to see the original trilogy. After having seen The Phantom Menace I just didn’t get the appeal, but I stuck it out and went to see Attack of the Clones and then I got it – Star Wars – Episode II: Attack of the Clones is awesome. The Phantom Menace was just not that good at all and it never will be no matter how many times I watch the film. Star Wars – Episode II: Attack of the Clones won the BAM for Best Picture in 2002 (BAMs are my personal movie awards – look out for those here next year).

8. Hook (1991)

Hook (1991, Columbia)

This film being on the list is based entirely on concept. To me the idea of a movie about Peter Pan growing up was just absurd, so I avoided Hook for a long time but then I watched it… and Spielberg does turn almost everything into gold. It will never replace the original, or come close to it, but it is a very good and underrated film.

7. Max Keeble’s Big Move (2001)

Max Keeble's Big Move (2001, Disney)

I saw this as the cherry on top of a self-made triple feature one day. Of the movies I saw that day (Zoolander and Hearts in Atlantis being the other two), I had the lowest expectations for this one and it was my favorite. It is just a zany, off-the-wall comedy that actually ended up being nominated for a BAM as Best Picture.

6. Freaky Friday (2003)

Freaky Friday (2003, Disney)

It was one of those Disney’s 70s live-action films that just never quite did it for me for a number of reasons, but mainly because suspension of disbelief becomes difficult. Complicating matters this was the second time Lindsay Lohan was remaking a Disney film after her big break in the The Parent Trap. I went to see it ‘just because,’ not expecting much and loved it. It was probably Lohan’s last appealing character pre-drug/attitude problems and Jamie Lee Curtis is a perfect foil. Thus, the ridiculous concept didn’t bother me at all in the end.

5. School of Rock (2003)School of Rock (2003, Paramount)

Keep in mind this film was released in 2003. At the time I only really knew Jack Black from Tenacious D and I didn’t think this concept would work or be funny. I was dragged to watch the film just short of kicking and screaming, and lo and behold I loved it, and consider it to be one of the 50 funniest movies I’ve ever seen. No other vehicle has quite captured Jack Black’s lightning in a bottle like this film did. I was ultimately very glad I saw it indeed and watch it frequently – and quote it as well.

4. A Dog of Flanders (1999)

A Dog of Flanders (1999, Warner Bros.)

I used to go to the movies every weekend in junior high and high school, whether accompanied or not, to see something new. It didn’t matter what I went to see, and that’s how I saw the next film. Here’s a film that misleads with its title. Having never seen or heard of the original story and films upon which this most recent rendition was based I thought it was your typical ‘boy and his dog’ film, in fact the title refers to the protagonist, Nello, as much as it does to his dog. However, at its heart it is a much more serious tale of poverty, sacrifice and the struggle to be an artist. In fact, it may well be one of the best examples of that subgenre. It is a rare film in which the protagonist ages and both performances by actors playing younger and older Nello (Jesse James and Jeremy James Kissner) are equally compelling. Along with a great supporting turn from Jon Voight, a good score, and a tear-jerking ending this is a great film that caught me completely by surprise.


3. Young Einstein (1988)

Young Einstein (1988, Warner Bros.)

I literally saw this because Home Alone was sold out, or was it Batman? Either way I didn’t see it that day and my friend’s birthday plans changed. Just watching it under those conditions should have lead to disappointment. However, I remember it being okay and not a complete and total waste of time. And looking back and considering that it starred a man who calls himself Yahoo Serious that is saying something.


2. High School Musical (2006)

High School Musical (2006, Disney Channel)

If nothing else, it’s one of those movies you watch just because you want to see what people are talking about, and I have to admit that the first one actually does work. Yes, it’s sappy, but it makes no claims to be otherwise and doesn’t try to overdevelop subplot as the 2nd and 3rd installments do. The sequels are also pretty much artistically unjustified and terrible but that can’t detract from the first.

1. Jack Frost (1998)

Jack Frost (1998, Warner Bros.)

This one sits atop the list because it deals with perhaps the most preposterous storyline of them all. A kid loses his father and finds him the next year reincarnated as a snowman. It sounds like the kind of thing that would land on MST3K. However, with the setup, the tumult surrounding the father leaving and the devastation his loss causes, and with all the insinuations of insanity handled immediately – it starts to work. What pushes it over the top are the performances of the cast: the always great Michael Keaton, both on screen and in voice becomes a character we ourselves greatly miss seeing. Joseph Cross, who is now an established character actor having recently appeared in Lincoln, after his prior comeback with Running with Scissors and a supporting role in the Oscar-winning Milk; gives the performance of his childhood career (which is saying something), as the sensitive, shy and affected Charlie. Rounding out the principal cast is Kelly Preston doing the most that almost anyone could with such a small role. It’s a film I’ve now seen a number of times and could probably pop in every holiday season without growing tired of it and still think “I can’t believe I like this, but I do.”

Once Upon a Time In The 80s: Sequels (Part 4 of 17)

“Leaves the door wide open for a sequel,” is a phrase that was not part of the cinematic vernacular even in the 1950s. It really does sound like something you’d say after watching a slasher movie. These films, of course, were very popular in the 1980s, but just because you didn’t see a horror movie didn’t mean you were safe from someday hearing of a sequel.
 

In the 1970s the ‘pre-sold’ product became a big thing with studios there were many literary adaptations so logically sequels would soon follow. In 1981 there were 42 sequels produced worldwide; in 1989 there were 124. By the end of the 80s there were six Police Academys, five Halloweens, Howlings, Star Treks and Nightmare on Elm Streets; if you wanted to kill someone you could strap them to a chair and make them watch these in succession. There’s probably more but it would get redundant. As opposed to the positive legacy of special effect, the 80s left us with a trend that has only gotten worse. While there are no new series that are growing ridiculously, although Friday the 13th has reached 10 [now 11 with a 12th in development], it is much easier for a film to get a sequel now such as Legally Blond which didn’t even hit 100 million, but was made on no budget so the profitability was easier to hit. Another new trend is immediately announcing a sequel: when Spider-man opened with $115 million dollars in its first weekend the studio announced plans for a sequel. Opening weekend sequel plans have become commonplace and they can be directly blamed on the 80s who exacerbated sequel-mania in a need for guaranteed money.

While the contrived sequel can be called a spawn of the 80s on the good side there is also the series. The difference is that a series is a story that is not supposed to be in one film or book as the case may be. While there was only Indiana Jones and Star Wars these films helped develop the business concept of ‘the franchise,’ more so to me than the other films than those sequelized ad neauseum. The franchise by my estimation is a designed series of films that will also be a cash cow. To me these two series planned by Lucas and Spielberg are what set the stage for some of the better films of our times.

The studios relied on the sequel for easy money because the horror films that made them all their money were pick-ups. The Slasher Trinity of Halloween, Friday the 13th and Nightmare on Elm Street were all independent productions which cost their respective distributors practically nothing. Thus, when they each took off like rockets they didn’t want to see the profits stop. And like at anytime in film history, you never know what’s going to be a hit and what isn’t, no matter how much test research you do. So they figure they’d just repeat what worked. And people went, and will go, if only out of curiosity.

While I can justify all these sequels that seemingly have no point I in no way excuse them. Because what started as just a rash has become a plague and now any film which shows and inkling of profit potential is a candidate to be butchered and repackaged in a sequel. For the most part I very much enjoy these films of the 80s, but a tendency towards needless repetition is something I can live without.
 

Work Cited:  http://us.imdb.com/List?year=1989&&tv=on&&keywords=sequel&&nav=/Sections/Years/1989/include-commongenres&&heading=8;sequel;1989

Note:  This is a recapitulation of a paper I wrote in film school. It will be published here in installments. This is part four you can read part one, two and three here.

Once Upon a Time in the 80s- Special Effects (Part 3 of 17)

Note: This is a recapitulation of a paper I wrote in film school. It will be published here in installments. This is part three you can read part one here and part two here.

The 1980s were marked by the emergence of the computer into mainstream American culture. The increasing accessibility and availability of this tool made its impact on the entertainment industry in a very powerful way. In 1984 one of the most famous commercials of the year was Apple Computer’s ‘Big Brother’ a play on Orwell’s 1984. While unlike the 90s where computers would soon come to reside in well over half of America’s households, and the science fiction aspect and the improbability of the device was demolished; they were becoming a much more practical tool.

The key in revolutionizing computerized effect lay with one man. In 1977 George Lucas formed Industrial Light and Magic to create the effects for Star Wars. Working out of Marina County California his company soon started to work on effects for many films. Their first heavy volume of releases was in 1985 with Back to the Future, Cocoon, Explorers, The Goonies and Young Sherlock Holmes which with ‘The Stained Glass Man’ had the first fully computer generated character. The rest was history in 1986 comes Aliens which took the computer generated character to the next level and it’s been an ongoing game of “Can You Top This?” ever since.

The fact that the special effects craze came about in the late 70s and grew exponentially in the 80s is like kismet. This was a decade that was jam-packed with action films but also had an abundance of fantasy films still around. This new technology opened up possibilities for narrative never before seen and they were used, for example, a journey inside a human body in Innerspace. The kind of film that was in demand with the American public was also the kind of film that was well-suited to the new special effects technology.

Before the apathetic generation-x-ridden 90s when films of social dementia disguised as poetry like American Beauty would run amuck, the 80s was a decade riddled with myth and fantasy, here’s a sample: The Empire Strikes Back, Return of the Jedi, E.T.: The Extra-Terrestrial, The Neverending Story, Legend, Dark Crystal, Back to the Future, Flight of the Navigator and so on. Escapism being a large part of the cinematic formula coupled with the youthful audience allowed for these advances and this type of storytelling which is only recently beginning to creep back into being.

The shift away from fantastical storytelling that occurred in the mid-90s and lasted until about 1999 in a way has impeded the progress of CGI. While in some films it blends in perfectly and is breathtaking in others it sticks out like a sore thumb. Sure, there are films and studios that will be cheap, but had there been more constant works the floor of marginally acceptable CGI would’ve risen. The man who is always breaking the glass ceiling of CGI excellence is George Lucas, and he says he tries to push other directors with every film he does, hopefully people will follow suit.

The computer generated image is one of the few things from the 80s which was expanded upon in the 90s. The technology has some very practical uses such as digital stunts and extras. With this technology the director’s vision can more easily be realized where as if something doesn’t exist the way he sees it can be created. This is one of the 80s lasting legacies. When we’re looking back upon this decade we, of course, can’t forget some of the films that came out of the decade, but we must also remember that filmmaking was forever changed in this decade because ‘Special Effects’ became a term that we could apply to almost every film. A new cinematic tool was beginning to be fully realized and is still being perfected to this very day.

 Footnote and Work Cited:

1. The Empire Strikes Back won an Academy Award for Special Achievement in Special Effects. The following year it was a category at the awards, Raiders of the Lost Ark and Drangonslayer were nominated.


2. Star Wars: Episode II- Attack of the Clones Dir. George Lucas. Feat. Hayden Christiansen, Ewan Macgregor, Natalie Portman, Christopher Lee. 2002, 20th Century Fox. DVD extra features.

BAM Award Winners: Best Director

So both here and in Best Cast there was some revisionism over the years, however, rather than try and readjust things I’ll just let things stand where they are at current.

The Best Director category is an interesting one because it is usually, in the mind of many, inextricably tied to the Best Picture winner. There is a certain logic to that, however, they are two rather different awards when you boil it down. In Best Picture you pick the story and the production. In Best Director you are picking a visionary and the architect of a production. There are times when the direction of a film will outshine its narrative or overall impact or a story that is wonderful but handled with a rather invisible hand that allows splits to occur.

I have three such splits in 1997, 1998, 2005 and 2012 none of which I was hesitant at all about.

2018 Bo Burnham Eighth Grade

2017 Andy Muschietti It 

2016 Gareth Edwards Rogue One: A Star Wars Story

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2015 George Miller Mad Max: Fury Road

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2014 Daniel Ribeiro The Way He Looks

The Way He Looks (2014, Strand Releasing)

2013 Gavin Hood Ender’s Game

Ender's Game (2013, Summit)

2012 Bela Tarr The Turin Horse

Bela Tarr

2011 Martin Scorsese Hugo

2010 Christopher Nolan Inception

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2009 Spike Jonze Where the Wild Things Are

Where the Wild Things Are (2009, Warner Bros.)

2008 Tomas Alfredson Let the Right One In

Thomas Alfredson

2007 Timur Bekmambetov Day Watch (Dnevoy bazar)

Timur Bekmambetov

2006 Richard E. Grant Wah-Wah

2005 Ingmar Bergman Saraband

Ingmar Bergman on the set of Saraband (Sony Pictures Classics)

2004 Jacob Aaron Estes Mean Creek

Jacob Aaron Estes

2003 PJ Hogan Peter Pan

Peter Pan (2003, Universal)

2002 George Lucas Star Wars: Episode II: Attack of the Clones

George Lucas (2002, Lucasfilm)

2001 Steven Spielberg Artificial Intelligence: A.I.

Steven Spielberg (DreamWorks)

2000 Julie Taymor Titus

JULIE TAYMOR PRESENTS BOOK OF HER FILM 'TITUS'

1999 M. Night Shyamalan The Sixth Sense

M. Night Shyamalan on the set of The Sixth Sense (Hollywood Pictures)

1998 Steven Spielberg Saving Private Ryan

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1997 Neil Mandt Hijacking Hollywood

1996 Lee Tamahori Mulholland Falls