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Showing posts from 2014

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Broadcast News: The Fall of American Media

December 31, 2014

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Social Commentary in Fritz Lang's Masterpiece M (1931)

December 17, 2014

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22 Jump Street Satirizes Hollywood's Lack of Originality

December 16, 2014

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How to Train Your Sequel: The Solution for Sequelitis

December 16, 2014

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Quantifying the 2014–2015 Golden Globe Nominations

December 11, 2014

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Pushing the Limits of the Digital in Matt Reeves's Dawn

December 10, 2014

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The Testament of Dr. Mabuse: From Silent to Sound

December 10, 2014

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Deconstructing Mythology in The Rock's Hercules

December 06, 2014

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Subtle Social Satire in Mike Nichols's The Graduate

December 05, 2014

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Sin City 2: Not a Dame Worth Killing For

December 05, 2014

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Staging and Composition in Rebel Without a Cause

December 04, 2014

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Christopher Nolan's Parallel Editing in Interstellar

December 04, 2014

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Michôd's Bleak Western Dystopia in The Rover

November 27, 2014

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Is The Hunger Games Good or Bad?

November 25, 2014

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The Horrifying Proximity of Jake Gyllenhaal & Nightcrawler's Socio-Economic Ideology

November 23, 2014

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Meaningful Nothing in The Zero Theorem

November 19, 2014

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3 Reasons to (Not) Watch 300: Rise of an Empire

November 18, 2014

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Personified Morality in the Third Act of Sunshine

November 16, 2014

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Birdman: Technical, Psychological, Political

November 15, 2014

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Sharknado 2: The Second One Honors The Asylum Legacy

November 15, 2014

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Interstellar: Ambition vs Exposition

November 12, 2014

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A Most Wanted Man: Performance vs Politics

November 12, 2014

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Metropolis, Star Wars, & Our Science Fiction Legacy

November 07, 2014

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Slither (Octoberfest Horrorthon)

October 31, 2014

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Teeth (Octoberfest Horrorthon)

October 31, 2014

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World War Z (Octoberfest Horrorthon)

October 30, 2014

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Halloween (Octoberfest Horrorthon)

October 30, 2014

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YouTube Horror Shorts (Octoberfest Horrorthon)

October 29, 2014

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Inferno (Octoberfest Horrorthon)

October 28, 2014

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The Blair Witch Project (Octoberfest Horrorthon)

October 28, 2014

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The Village (Octoberfest Horrorthon)

October 27, 2014

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Eyes Without a Face (Octoberfest Horrorthon)

October 26, 2014

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The Mummy (Octoberfest Horrorthon)

October 26, 2014

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The Art of Madness in The Darkness Within

October 24, 2014

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Tenebre (Octoberfest Horrorthon)

October 24, 2014

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Police Violence and Sexual Intolerance in Sabotage

October 23, 2014

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Phenomena (Octoberfest Horrorthon)

October 22, 2014

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The Brood (Octoberfest Horrorthon)

October 22, 2014

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The Hound of the Baskervilles (Octoberfest Horrorthon)

October 21, 2014

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Beetlejuice (Octoberfest Horrorthon)

October 21, 2014

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SIFLW: Early Claymation & Stop-Motion Shorts

October 20, 2014

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Identity Politics & Being "Gone" in Gone Girl (Full Analysis)

October 19, 2014

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The Boxtrolls: Beautiful Box, But What's Inside?

October 18, 2014

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Deep Red (Octoberfest Horrorthon)

October 17, 2014

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Rope & Silence of the Lambs (Octoberfest Horrorthon)

October 17, 2014

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The Maze Runner's Response to Dystopian YA

October 15, 2014

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Day of the Triffids (Octoberfest Horrorthon)

October 14, 2014

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28 Days Later... (Octoberfest Horrorthon)

October 13, 2014

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Suspiria (Octoberfest Horrorthon)

October 13, 2014

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Tetsuo: The Iron Man (Octoberfest Horrorthon)

October 09, 2014

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Wes

Greetings, Meat Popsicle!

Welcome to Screening Notes, my analytical movie review site!

I'm a proud cat dad, culinary amateur, and purveyor of socialist propaganda.

I greatly appreciate comments, positive or negative, so please don't be afraid to speak your mind.

Looking for a review of a specific movie? Try the search bar above or select "Film a Film" to browse an organized archive of my articles in the toolbar above.

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Popular Posts

The Value of Science Fiction (analysis)

Jeff Russell's Starship Dimensions Maybe it's just me, but I feel like science fiction has a bad reputation. I have a distinct memory of going to see Oblivion with some friends, after which they said that it was fun but a little too unreal. While they enjoyed it for what it was, they didn't see the thematic value it contained. I don't think this was their fault as a viewer; on the contrary I get the feeling that the reputation of science fiction as little more than escapism conditions our brains to ignore the films' deeper aspects and just enjoy their spectacle. There are gonna be some spaceships, some aliens, and probably some battles between the spaceships and the aliens. Then when people do get critical of sci-fi they level their critique at the wrong things: you can't use a fire extinguisher as a jet pack, artificial gravity wouldn't work like that, those aliens don't look real. We need to change the way we think about science fiction because

The Cabin In The Woods Bestiary

So my analysis of The Cabin in the Woods is taking longer than I expected, mostly because I keep getting distracted by how awesome the movie is . One thing I couldn't help making was this, a list of all the possible monsters which could have terrorized the poor occupants of the cabin (in the woods). So while you wait for me to stop being distracted , enjoy this compilation. (Also please note if you're using Google Chrome then adding Hover Zoom will help you fully enjoy this article - don't worry it's free.) EDIT: My analysis of the movie is finished and can be found here . EDIT2: Someone put some of the images on imgur here , so check it that out if you like. The Cabin In The Woods Bestiary These are in the order seen on the betting board behind Richard Jenkins Werewolf , bet on by Finance. Pretty generic monster. Alien Beast , bet on by Bio Med. Some sources claim a much more direct reference to the Alien movies than this picture

Witness (quickie)

As someone who grew up with Han Solo and Indiana Jones, there's a soft spot in my heart for Harrison Ford. A few months ago, I ran around the internet looking for more movies starring him and stumbled across the 80's police-drama-slash-crime-thriller Witness (for those of you looking for the same, check out Francis Ford Coppola's The Conversation , it's the youngest I've seen Ford in a relatively big role and it's just a fantastic film). I finally got a chance to watch the movie, and while there's not really anything wrong with it, it's also not the most amazing movie you'll ever see.

Dark Waters and Systemic Disenfranchisement Under Capitalism

"The system is rigged! They want us to think it’ll protect us. We protect us!" When corporations realize they're too big to fail, they start putting human lives at risk in exchange for short-term financial gains, and we let them do it because we're terminally disenfranchised, we're bound to the system that oppresses us, we can't adequately resist because we need money to buy food and pay for shelter. A small-town farmer's cattle are dying by the hundreds, and he's convinced that a nearby landfill is to blame, but no one with any power will return his phone calls, so he desperately resorts to a tangential family connection and asks a corporate defense lawyer to switch sides and prosecute the very people he became successful protecting. In this way, Dark Waters develops a double-edged conflict: the people most affected by these corporations have no power to do anything about it, and the only people who do have the power to do something are a

Layer Cake (review)

Just to make this easier for some of you: if you are a big fan of the Guy Ritchie film-making method (e.g. Lock, Stock and Two Smoking Barrels (1998), Snatch (2000), etc.) then do yourself a favor, stop reading this review, and just go see Layer Cake (2004). It might be the best of its kind. For those of you who might be unfamiliar with Guy Ritchie's style, his movies generally take place in the seedy underbelly of England and involve crime and usually drugs. The way he tells his stories is what stands out for most people and should appeal to anyone who likes to "figure out" movies (or likes to be confused). Despite the deceptive ensemble casting there's usually a pretty clear protagonist (who often gives a voice-over at the film's beginning) and throughout the film the audience is (almost) never told/shown anything the protagonist wouldn't hear/see. This often leads the protagonist and the audience into situations they can't have expected (although

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Gary Gray1 FDA1 Face/Off1 Falcon1 Fallaci1 Fargo1 Faults1 Fear and Desire1 Federico Fellini1 Ferris Bueller's Day Off1 Fight Club1 Finland1 Fire Walk with Me1 Five Dolls for an August Moon1 Flynn1 Focus1 For Your Eyes Only1 Four Flies on Grey Velvet1 Foxcatcher1 Frances McDormand1 Frank1 Frank Oz1 Frank Sidebottom1 Franz Kafka1 From Russia with Love1 Frozen1 Fury Road1 GMO1 Gareth Edwards1 Gary Oldman1 Gattaca1 Gavin Hood1 George Lazenby1 George Lucas1 Ghost Protocol1 Ghosts of Mars1 Giorgio Agamben1 God1 Godzilla1 GoldenEye1 Goldfinger1 Gort1 Grand Budapest Hotel1 Gravity1 Guy Pearce1 Hamlet1 Hanna1 Hans Zimmer1 Hansel & Gretel1 Happy Together1 Hard Target1 Heathers1 Heaven1 Heiddegar1 Hell1 Henley1 Hercules1 Hidden Fortress1 Hitler1 Hobbit1 Holocaust1 Holy Motors1 Hong Kong1 House 19771 How to Train Your Dragon 21 Humphrey Bogart1 Hunger Games1 I Frankenstein1 I am Legend1 Ida1 Inception1 Independence Day1 Indiana Jones1 Inferno1 Inherent Vice1 Inland Empire1 Inside Llewyn Davis1 Inside Man1 Inside Out1 Into Darkness1 Investigation of a Citizen Above Suspicion1 Iran1 Iranian revolution1 Ireland1 Iron Sky1 Israel1 It Follows1 J.K. 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now1 third act1 thriiler1 throwback1 ticket sales1 tiger1 time1 timeline1 timelines1 top 1001 top 5 comedies1 torture1 totalitarianism1 tradition1 trailers1 transgender1 transgression1 transparency1 traverse1 triangle1 tropes1 true love1 twists1 tyranny1 uncertainty1 uncut1 undead1 under the silver lake1 underdeveloped1 underrated1 unicorn1 upcoming1 us theatrical1 us vs them1 vagina dentata1 value1 vampire1 vampires1 vanishing mediator1 vegetarianism1 version1 versions1 victim in field1 victimization1 video nasty1 vigilantism1 visual pleasure1 voice1 voice actors1 voiceover1 vs1 vulgar auteurism1 what is this movie even1 whisper1 whitewashing1 who's there1 whodunit1 wide1 wide angle1 wipes1 wire-fu1 work1 writer's block1 wuxia1 young adult1

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