Are you tired of all the false rumors of celebrity deaths (today it was Rick Astley)? And are you tired of all the jokes that Michael Jackson is really still alive somewhere, hanging out with Tupac, JFK and Elvis? So are we, but we thought we’d take both the obnoxious death hoax trend and the idea that MJ faked it so he could live in peace and out of debt as inspiration for something more worthwhile: a discussion of favorite false deaths in movies.
The device is quite popular, especially in thrillers and horror flicks, and it can be employed as a plot starter or in a twist ending. James Bondhas done it, as has Sherlock Holmes. Whether someone fakes his/her own death or is simply mistaken for dead, the actual deed or the ultimate reveal can end up terrific cinema. In fact, it was very difficult for us to narrow our favorites down to ten. It’s a shame we had to leave out memorable scenes from Heathers, Hero and many other movies. Certainly you’ll disagree with some of our exclusions, too, so feel free to name them in the comments section.
Just beware; there may be SPOILERS after the jump: …Read more
Should special effects only be used to service a film’s story, or is it perfectly fine for movies to feature extraneous spectacle? That’s a debate that comes up often among cineastes, but ultimately there’s room for both functions. Sometimes, in cases like Jurassic Park and The Matrix, both categories of effects may even faultlessly coexist in the same film. Yet there is one kind of effects employment that’s intolerable to all film-loving parties: the gratuitous exploitation for the sole purpose of brazen gimmickry. It’s this kind of effects work that goes beyond spectacle. It’s not so much a show as a show off.
For one example of this cinematic sin check out Karina’s review of The Curious Case of Benjamin Button, in which she references a scene featuring an inessential and irrelevant rocket launch in the background of an otherwise intimate moment between two lovers on a sailboat. Actually, that’s apparently only a minor citation in a “a film about the feat of its own whiz-bang, Frankensteinian digital imagery, drunk on its own accomplishment to an extent that feels quasi-ethical.” Hardly the first movie to commit such a crime, sure, but Benjamin Button seems to be the most thoroughly guilty exploiter since Forrest Gump (both films, incidentally, were scripted by Eric Roth).
So, in (dis)honor of Roth’s repeat offense, let’s take a short look at the worst exploitations of special effects in the last 15 years: …Read more
I’ve come to a funny realization: My constant complaints against CGI are somewhat akin to complaints against blogging. Yet, while I admit that my writing isn’t quite the same as print journalism and film criticism of the past, I also don’t cost a ridiculous amount of money relative to the cost of modern special effects.
Anyway, I don’t need to defend or justify my existence as compared to the way things used to be, yet it’s certainly necessary for the people at ILM to defend their use of CG rather than old-fashioned matte paintings and models for Indiana Jones and the Kingdom of the Crystal Skull. Especially considering how many reviews, both positive and negative, harp on the fact that Indy’s world doesn’t look like it used to.
So, perhaps in anticipation of all the nostalgic moviegoers who leave the theater this weekend wondering why all the locations and creatures looked so bad, the Associated Press has a story on the making of the latest Indy installment, complete with plenty of prematurely defensive quotes from visual effects supervisor Pablo Helman:
We’ve had a bit of trouble getting this episode to go through the iTunes feed, so we hope this re-post will fix the problem. The original post, with episode description and embedded player, is here.
filmcouch-114
