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Showing posts from May, 2015

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Bay of Blood: The Birth of the Slasher

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Torso: Feminist Politics in the Slasher Genre

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Un Chien Andalou: Experiments in Cinematic Storytelling

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Fury Road: Religion, Consumerism, & Self-Sacrifice

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Notes on Fargo: Shooting in the Snow

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Notes on Zodiac: Exposition & Detective Stories

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Mad Max: Fury Road: From Obscenity to Maternity

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The Beyond: Surreal Gore & Symbolic Instability

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The Man from Earth: Narrative vs. Narration

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Security, Surveillance, and Morality in Minority Report

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Ex Machina: Humanity & Sexuality through Science Fiction

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Learning to Drift in Ryan Gosling's Lost River

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Genre Conventions & Kim Jee-woon's A Bittersweet Life

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A Girl Walks Home Alone at Night: Sexual Anxiety Inverted

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Marvel's Reflection of Social Ideology with Age of Ultron

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The Hero's (Puppet) Journey in The Dark Crystal

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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.

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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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