Ghost Ship (2002)

Starring: Gabriel Byrne, Julianna Margulies,  Ron Eldard

Director: Steve Beck

The credit scene opens the film with a shot obviously enhanced by digital effects. It appears the water has been added using 3D effects to make it seem more realistic when interacting with the 2D ship. While this scene may have seemed very realistic it was obvious that visual effects had been installed.

Again, when the salvage vessel first stumbles upon the ship they are interacting with a 2D vessel. This is due to the fact the scene calls for the boats to collide, and it would be too hazardous to have two real boats to hit, especially when one of the crewmembers has to crawl back onto the bowl before he is squashed between them.

The final visual effect I noticed was the 3D word puzzle toy that the girl was holding in the opening scene. Since the words are changed by an unseen presence it is significantly easier to have a CG toy shift cryptically.

And so it ends…

Team America: World Police (2004)

Starring: Trey Parker, Matt Stone, Kristen Miller
Director: Trey Parker

Trey Parker takes comedic editing to a new level with his cast of puppets in ‘Team America: World Police.’ Slow motion wiggling of strings and close cuts so that human hands can come into frame and not seem so alien are all part of a film that can only be described as insane. At points the audience is shown reaction shots of the characters – which might seem fine until you remember that the characters are puppets. But of course the best piece of editing in the film is the training montage that closes the second act. Not only do we see our mannequin protagonist pulling off incredible stunts but a song tit;ed ‘Montage’ is played consecutively, explain to the average film goer why they use montage in quite hilarious fashion. See this film.

 Fight Club (1999)

Starring: Edward Norton, Brad Pitt, Helena Bonham Carter

Director: David Fincher

Watching Fincher’s Fight Club is indeed a memorable experience. The film opens and introduces The Narrator and Tyler Durden before using a cutaway to show the bombs that are soon to blow up the corporate buildings in the hypothetical city. Throughout the film insert shots are used periodically to great effect. We see an insert of the Ikea catalogue that dominates The Narrator’s life which is used as a transition to another scene in his apartment, a humorous reflection on how consumerism is a fundamental aspect of his life. The audience is privy to a list of support groups that The Narrator eventually joins – examples such as ‘Incest Survivor Group’ and ‘Blood Parasite Survival’ portray how desperate he is for support. We then see coffee, donuts, and more group lists in a montage of insert shots to show how addicted the protagonist is becoming to the support shown by dying individuals. Cutaway reaction shots are used during the church group scene to show how members react to one woman’s ditch attempt to have sex before she dies. This helps further develop The Narrator – whilst most people show looks of disbelief and pity he appears slightly amused and is soon distracted by Marla Singer’s prescence.

Finally, the segment of the film we watched ended with parallel action – we hear the voice of the church group’s leader while The Narrator conjures his ‘cave’ in his mind and is greeted by his ‘power animal’; once a penguin it is now Marla.

Dogma (1999)

Starring: Ben Affleck, Matt Damon, Jason Mewes.
Director: Kevin Smith

Stock standard sounds are used in the film Dogma to add focus to setting. For instance, in the beginning of the film three demons disguised as hockey playing teens bash up an elderly man to extraneous music that reaffirms the fact that the act the demons are committing is not a ‘good’ one. Similarly, on the introduction of Metatron we hear angelic music and at the Mexican bar classic Spanish music is being played in the background. Sound effects are practical and well done, even in such situations such as a demon spurting horns from it’s head sound like an effect we would expect to hear in reality.

Heat (1995)

Starring: Al Pacino, Robert De Niro, Val Kilmer
Director: Michael Mann

Framing is used superbly in Michael Mann’s Heat to portray the contrast in the groups of characters. When the criminals are first introduced, especially Robert De Niro’s character, they are portrayed in a tight shot to portray their coolness as they plan and eventually commit the robbery. Even when they are performing the heist they are filmed in tight shots with masks on their faces. On the other hand Pacino is introduced in an emotional situation – making out with his wife – and is filmed in a medium long shot. As with the criminals this continues later into the film at the crime scene where he walks around followed by a group of detectives. Tight shots involving Pacino tended to switch focus at intervals, for instance when he was being shown where the sole witness is standing.

Elephant (2003)

Starring: Alex Frost, Eric Deulen, Elias McConnell
Director: Gus Van Sant

Elephant uses exaggerated lighting for an ironic effect. It is hard to think that this is a film about the Columbine massacre with the way it expands the effect of natural light to create a bright, exuberant atmosphere. Even though it is quite obvious the film has been colour graded the effect is also propelled by the bright colours worn by the main characters. The only time the audience really notices that characters are wearing dark colours is when the antagonists are seen walking into the school. It is interesting as well to notice that when the protagonist first walks into the school the colour blasts out into darkness. Once he leaves it blasts out once more into white and reverts to the previous colour scheme.

Sin City (2005)

Starring: Bruce Willis, Mickey Rourke, Jessica Alba.
Director:  Robert Rodriguez

Sin City is an adaptation of a famous collection of graphic novels, so it is no surprise that when watching the film you notice shots seem like you could press pause and have a static image that would not look out of place in a comic. Some of the angles can only be defined as epic, as Rodriguez attempts to give the city it’s own persona. Both wide shots and close-ups are harnessed effectively to create one of the most stunningly shot films of all time.

Jaws (1975)

Starring: Roy Scheider, Robert Shaw, Richard Dreyfuss
Director: Steven Spielberg

The film Jaws is renowned for it’s soundtrack. The shark’s theme became infamous and was the cause of many film watchers development of a fear of the sea. It uses sound like most horror films, providing a calm, pleasant atmosphere before breaking into sharp, horrifying noises that shake the audience to the core. While there is no narration in the film dialogue and special effects are crafted meticulously and help found a soundtrack like no other.

Transformers (2007)
Starring: Shia LaBeouf,  Josh Duhamel,  Megan Fox
Director: Michael Bay

Here I will attempt to evaluate the four major elements of the soundtrack for the film ‘Transformers’.

Narration – Narration in the film is told through the character ‘Optimus Prime’ rather than through an omnipotent narrator detracted from the events of the film. Due to the film being a theatrical action film it would also be implied that the narration would have been filmed ‘wild’ from the movie itself.

Dialogue – Dialogue was recorded live for this film, presumably by a boom. Generally the character’s face is seen on the screen so it is doubtful anything has been dubbed.

Music – While music was used in many of the scenes we viewed for emotional effect much of the soundtrack used later in the film is comprised of tracks recorded by mainstream artists externally and have been used in the movie so that the production/distribution company could also release a soundtrack.

FX – The use of FX’s in ‘Transformers’ was sublime. Obviously many of the sounds had to be created specifically for the film and they have been implemented excellently. Bay has also made sure that even subtle FX, such as the click of someone when using a keyboard, have been implemented.

Brick (2005)
Starring: Joseph Gordon-Levitt
Director: Rian Johnson

The film ‘Brick’ predominantly uses the high-key style of lighting as since the film is a satire of detective films the dramatic use of lighting is not employed. The audience is much more focused on the humour of the scenarios rather than the mood – these are linked rather closely besides. In the same vein however, some scenes do incorporate low-key lighting to heighten the power of the event taking place. This is most obvious in the party scene; the lighting highlights the loner protagonist’s alienation from the ‘cooler’ kids.

Natural lighting is harnessed seemingly to polarise the light and dark elements of the film. Whilst it is a comedy some scenes focused on darker themes and these tended to be filmed at night to provide a tenser atmosphere.

“I swear to submit to the following set of rules drawn up and confirmed by DOGME 95:       1. Shooting must be done on location. Props and sets must not be brought in (if a particular prop is necessary for the story, a location must be chosen where this prop is to be found).       2. The sound must never be produced apart from the images or vice versa. (Music must not be used unless it occurs where the scene is being shot).       3. The camera must be hand-held. Any movement or immobility attainable in the hand is permitted. (The film must not take place where the camera is standing; shooting must take place where the film takes place).       4. The film must be in colour. Special lighting is not acceptable. (If there is too little light for exposure the scene must be cut or a single lamp be attached to the camera).       5. Optical work and filters are forbidden.       6. The film must not contain superficial action. (Murders, weapons, etc. must not occur.)       7. Temporal and geographical alienation are forbidden. (That is to say that the film takes place here and now.)       8. Genre movies are not acceptable.       9. The film format must be Academy 35 mm.     Furthermore I swear as a director to refrain from personal taste! I am no longer an artist. I swear to refrain from creating a “work”, as I regard the instant as more important than the whole. My supreme goal is to force the truth out of my characters and settings. I swear to do so by all the means available and at the cost of any good taste and any aesthetic considerations. Thus I make my VOW OF CHASTITY.” Lars von Trier   Thomas Vinterberg

Source: http://www.dogme95.dk/the_vow/vow.html  

The creator of ‘Dogville’ (2003),  Lars von Trier, is one of the founding members of Dogme 95, so it comes as no surprise when it is discovered the film has been filmed with these conventions in tact. However, some are changed, such as the use of some props and special lighting being incorporated.

The location and setting of ‘Dogville’  are important in that they are unimportant. One set is used on a sound stage, with what would be other sets on mainstream films being designated by a marking on the blueprint that is the town of Dogville.  Rarely are props incorporated, and if they are it is to amplify the characters. The same goes for the setting of the film; the focus is meant to be on the characters and by following Dogme 95′s vow of not using special effects so as to foreground characters the audience’s view is alternate to the norm.

While some may believe Dogme 95′s views on production design are mediocre at best ‘Dogville’ is a prime example of why this is untrue. The town is easily portrayed as a simple, poor place in it’s bareness – moreso even than if a conventional set was constructed. The same goes for the design of the costumes, they are hardly distinguishable but their power is in simplicity, strengthening the reality of the characters.

Children of Men (2006)

Starring: Clive Owen, Michael Caine, Julianne Moore
Director: Alfonso Cuarón

The first act of ‘Children of Men’ introduces Theo (Owen), a lowly journalist who lives in a future where women have become infertile, in the aftermath of which the world has fallen into chaos and England is the only country to maintain order. As the world begins to mourn the death of the youngest living person Theo is confronted by ex-lover Julian (Moore) who asks him to acquire some fake ID’s for an illegal immigrant named Kee and to escort them to their destination. On route the first plot point reveals itself; Julian is shot by outlaws and Theo is forced to stay with Julia’s rebellious group to avoid the police, who, due to the actions of one group member, are looking for him and the others.

Act 2 opens and Theo discovers the truth about the immigrant he was helping – she is pregnant with the first baby to be born in over 18 years. However an obstacle soon presents itself in the form of the rebel group as Theo finds out they were disguised as the outlaws who killed Julia and that they wish to kill Theo so that the baby may be born at their hideout rather than in ‘The Human Project’; a group whose sole objective is to rekindle humanity.  Theo informs Kee and with the help of another woman they flee the base.

The trio take shelter at the house of Jasper (Caine), a former prize winning journalist and good friend of Theo’s. Some backstory is thus presented to the audience: Theo and Julian had a son that contracted a virus and died at a very young age.

After a discussion in which the group realises to get to ‘The Human Project’ they must inject themselves into a local immigrant detention centre Jasper uses his sources to have them picked up the following day. But before they can the rebels invade Jasper’s house and he sacrifices his life to save Theo and the women.

The trio drive to a dilapidated school where the second plot point comes into effect.   Jasper’s man arrests them and they are taken to the detention centre.

The third and final act begins with Theo and Kee’s accomplice being removed from the bus en route to the detention centre and is taken away to meet an uncertain future.

Theo and Kee reach their destination and are taken to shelter where the baby girl is born. The following morning the staff of the centre find that the rebels have broken into the area and a battle breaks out. The couple attempt to make for their rendezvous but are caught by the rebels. Kee is taken away and Theo is about to be killed before the military kills his would-be murderers. Theo chases after the men who have taken Kee and finds them holed up in a building being bombarded by troops. Theo runs in and saves Kee before walking out of the building. The sight of the baby amazes everyone, and momentarily the bloodshed ceases.

Kee and Theo reach the boat that is to take them to meet ‘The Human Project’. At the buoy which marks the meeting point Theo realises he has been shot. He passes out shortly before their saviours arrive. It is unknown whether Theo has made the ultimate sacrifice, but it is assumed.

Infernal Affairs (2002)
Starring: Andy Lau, Tony Leung, Anthony Wong
Director: Wai Keung Lau, Siu Fai Mak

In Act 1 we find out ‘Infernal Affairs’ is the story of Lau Kin Ming (Lau) and Chan Wing Yan (Leung). Ming is an undercover Triad member who has injected himself into the police force while Yan is an undercover cop working against the Triads. The movie takes place in modern day Hong Kong and it is obvious from the opening scene that the plot is going to be about a cat and mouse tale involving these two officers.

Plot Point 1 occurs shortly after the cops bust Triad leader Sam (Eric Tsang) in the middle of a drug smuggling operation. Both groups realise they have a mole in their midsts and ironically both mole’s are ordered to find the informant and kill them.

Act 2 introduces to the audience several confrontations. These include Ming moving in with his girlfriend, Yan falling for his psychologist to whom he divulges his true identity, as well as many close calls for both agents.

SP Wong (Wong), Yam’s case officer and the only one who knows his true identity is killed by the Triad and this sparks the second plot point. Ming realises his actions have lead to the death of a senior officer so he decides to go against Sam by discovering Ming’s identity and using the collaboration to fool their boss.

It seems like this is the end, but the second act has only just finished. Ming has decided to become a real cop and stop working for the other side while Yam is about to have his identity restored. That is until he finds evidence that Ming was the rat. He confronts Yam with the intention of arresting him, however Sam has another mole in the police force who ends up killing him.  In despair Ming kills his former colleague, departs into the foyer to where policemen have rushed upon hearing the shots and announces that he is a cop.

The three act structure is definitely prominent in the film ‘Internal Affairs’ and the directors have used this classic scheme to create a brilliant film.

Action:

300 (2007)

Starring: Gerard Butler, Lena Headey, David Wenham

Director: Zack Snyder

300 is one of those films that sets the trends for some time after its release. Snyder uses blue screen to create an epic landscape and provides breathtaking background to highlight the strength of the Spartan people.

Adventure:

The Lord of the Rings: The Fellowship of the Ring (2001)

Starring: Elijah Wood, Ian McKellen, Viggo Mortensen
Director: Peter Jackson

New Zealander director Peter Jackson takes one of the great adventure novels of all times and creates one of the most outstanding films of all time with a cast that seemed born to portray their characters.

Comedy:

Kiss Kiss, Bang Bang (2005)

Starring: Robert Downey Jr., Val Kilmer, Michelle Monaghan
Director: Shane Black

The one that got Robert Downey Jr. back on track and starred Val Kilmer in his best role since Heat. A satire of crime films with a hint of the James Bond series, this is definitely one to check out.

Crime/Gangster:

The Usual Suspects (1995)

Starring: Kevin Spacey, Stephen Baldwin, Gabriel Byrne
Director: Bryan Singer

Watching this you wouldn’t believe it was only Singer’s third directing job. One of the best scripts of all time tells the story of five crooks who plan a heist that brings them into conflict with one of the most infamous bad guys in the world.

Drama:

American History X (1998)

Starring: Edward Norton, Edward Furlong, Beverly D’Angelo
Director: Tony Kaye

Edward Norton is probably the most underrated actor in Hollywood. In this film he plays Derek Vinyard, an ex-Neo Nazi who finishes a stint in prison only to find his brother has followed his path to destruction.

Epic/Historical:

Hero (2002)

Starring: Jet Li, Tony Leung, Maggie Cheung
Director: Yimou Zhang

Jet Li plays a nameless assassin who quests to kill the Warlord set to become the Emperor of China. While confronting three assassins who have also tried the task he discovers the truth about the Warlord’s plan.

Horror:

Jaws (1975)

Starring: Roy Scheider, Robert Shaw, Richard Dreyfuss
Director: Steven Spielberg

People were scared by this movie more than most because it was a relateable fear. The only thing more worrying than aliens was a killing machine that was known to exist. Many have dared not enter the water since.

Musical:

South Park: Bigger, Longer & Uncut (1999) 

Starring: Trey Parker, Matt Stone, Mary Kay Bergman
Director: Trey Parker

A musical that appeals to the common folk with a twisted sense of humour. Very few television series make the transition from TV to film an enjoyable experience but Matt and Trey pulled it off.

Science Fiction:

 
X-Men 2 (2003) 

Starring: Patrick Stewart, Hugh Jackman, Ian McKellan
Director: Bryan Singer

Singer does it again, translating a comic book series about the ostracising of minorities into a highly political story of conflicting groups of mutants surviving in a world dominated by mankind.

Western:

Unforgiven (1992)

Starring: Clint Eastwood, Gene Hackman, Morgan Freeman
Director: Clint Eastwood

Unforgiven is one of the most definitive Western films of all time, uniting the classic six-gun elements with the heartfelt story of a retired gunslinger trying to change his ways for his dead wife.

Chick:

Eternal Sunshine of the Spotless Mind (2004) 

Starring: Jim Carrey, Kate Winslet, Kirsten Dunst
Director: Michel Gondry

The greatest romantic-comedy of all time. And who would expect any less from writer Charlie Kaufman? Two lovers get their minds erased of memories of the other, only to understand the strength of their love as they are forced to forget about it.

 As for ‘The Fountain’, the film seems to be of the Drama genre while containing a few Sci-Fi elements. It appeared to deal with the development of Hugh Jackman’s character throughout several eras.