The underSCENE is very saddened at the idea of a show all about representation has been canceled, but there is hope, so until we find out what happens next, I had to put a few of my feelings into words.
This one, this one hurt.
Author: Andres Guzman
If you follow us on Facebook, you’ll see that this is a post we make every other week or so whenever we have new film releases that we can support. Today marks a very crucial day, so we’re going to start celebrating this way, we’re here to talk about some of our favourite films by and about women.
Today also marks the day that Captain Marvel is released, so there’s that too.
We all knew this post was coming.
It’s been five years since Robert Rodriguez has put out a feature film (Sin City: A Dame to Kill For) but it’s been a bit longer since he had a hit. His films have always been an interesting mixture of genres. He loves the campiness of “B films” (hence his Grindhouse film) and always adds to it which makes the film seem “cringey” but I always believed it was on purpose. On top of that, he has affixation to digital cinema. In the wonderful documentary Side by Side (a documentary regarding shooting on film versus digital) he speaks about how when George Lucas said that digital was the future, he figured why would he argue with a legend in the film making world.
High Flying Bird is the latest film by one of the hardest working filmmakers, Steven Soderbergh. Following his last experiment Unsane (which was great), he once again made a movie after shooting it on an iPhone 7. While most people freaked out, the fact is the camera is the only thing the phone was used for, not for audio. Also, professional lighting was also used. He’s always been at the forefront of digital cinema. He made Unsane and High Flying Bird as a statement that anybody could make a film, using our own phones is the easiest way to get there.
Oh, how I’ve missed you, Film Finales. And Jason Reitman and Diablo Cody as well.
I’m bringing a few series’ from my previous site and this one was one I enjoyed very much. For the reader’s unaware of the Film Finales series, they are articles revolving the final frame of the film and how that summarizes the themes of the film. So, spoilers, obviously.
Long live the new flesh indeed.
It’s been a few years since I previously wrote about Netflix and their original content. Even though it wasn’t that long ago, it feels like an entire lifetime ago.
At that time, David Ayer directing a Max Landis script starring Joel Edgerton and Will Smith sounded massive. It wasn’t, and it isn’t, definitely not anymore. If a film could bomb on a streaming service, then Bright did exactly that. Somehow that never stopped them or even slowed them down. In 2017, Netflix released films by Bong Joon-Ho (Okja), Noah Baumbach (The Meyeroritz Stories), and even Mike Flanagan (Gerald’s Game). That line-up is fairly substantial but they continue as 2018 had films by Alex Garland, Duncan Jones, the Coen Brothers, Alfonso Cuaron. Not to mention finally allowing the world to see Orson Welles’ The Other Side of the Wind, allowing us to watch the film almost 50 years after principal photography. Also another passion project by Martin Scorsese, The Irishman which will be released in 2019.
Yesterday (January 24th) was the 30th anniversary of the execution of Ted Bundy, one of the infamous serial killers to walk the earth. One of his attorneys would later say that Bundy was the definition of heartless evil. Netflix celebrated yesterday by posting a 4-part documentary called Conversations with a Killer: The Ted Bundy Tapes. The documentary was directed by Joe Berlinger. And today here is the trailer for his feature-length film about Ted Bundy starring none-other than Zac Efron.
Friends, we are finally here.
We’ll probably have another article with who we think will win/should win, but until then, here are your nominees.
Well it didn’t take very long for 2019 to have a divisive film. Unsurprisingly it’s due to M. Night Shyamalan’s latest film Glass, the end of his realism Superhero film trilogy. He might change his mind, but we’ll never know until the end of a film as was the case with Split.
The UnderSCENE 