writing. photography. film criticism

Author: marielcalloway (Page 3 of 5)

Paradise Bound: Interstellar and the Quest for Dimensional Transcendence

interstellar

In the beginning, God created Adam. Then, because Adam was lonely, God made Eve. When Eve fell, she led Adam to fall with her and God expelled them both from the garden of Eden. In the 17th Century, English poet John Milton provided his own take on the story of Adam and Eve in his epic poem Paradise Lost. Milton’s version contains moments of sympathy for God, for Eve, and even for Satan, but most poignantly for Adam.

Milton, in his own problematic, misogynist view of Original Sin, presents the idea that Adam chooses a life of companionship over a life of bliss. In other words, the idea of a lonely existence in paradise is worse than whatever could await outside the garden walls, and his decision has haunted us ever since.

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Gone Girl: Media Gaze and the Feminine Spectacle

GoneGirl

[Spoilers Within]

In David Fincher’s Gone Girl, the media is a character in and of itself. It acts with considerable agency, guiding our thoughts and perceptions, casting autonomous judgement with an unquestioned air of authority. From an early point, the film wisely encourages us to ask “Whose story is this?” and as the tale unwinds we’re presented with a variety of answers, none of which feel complete without the others.

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Can’t Stop. Won’t Stop.

nonstop

Jaume Collet-Serra’s new film Non-stop unfolds with the elegance and suspense of a classic Hitchcock film in our modern era. Through clever storytelling and progression of events, Non-stop takes us aboard an exciting ride and refreshingly puts our paranoia on edge to keep us guessing until the end.

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Fear and Gloating in Rhode Island

THE CONJURING

It starts with a doll. Wide glassy eyes, grinning eerily into the camera. We listen to the story of a mere child’s play object, a symbol of displaced love, affection, and desire that becomes twisted and corrupted into an object of deceit, jealously and malice by dark spirits.  In a nutshell, this is the story at the core of The Conjuring, a tale of displaced joy and attention that so steeply turns from playful to deadly. This is the story of the real life Perron family whose love for their new home, joy for new life sours into hatred and fear.

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Sailing to “Elysium”

Elysium

Elysium, the newest film from Neill Blomkamp, the creator of District 9 once again forces us into a world where the unspoken social undercurrents of our modern world are thrust into light. The post-apartheid era of District 9 gives way to a stark, segregationist landscape reminiscent of Ridley Scott’s Blade Runner. On Earth, we experience Los Angeles in the year 2154, a wretched hive of scum and villainy if there ever was one. Citizens of Earth live under the distant glimmer of Elysium, an Edenic off-world haven. Those wealthy enough to flee the plague-ridden Earth have made Elysium their utopian home, while the less fortunate have been left to toil by the sweat of their brows.

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Lost in Transmission

shame1

The shame in Steve McQueen’s 2011 film is never clearly stated, but nonetheless finds plenty of opportunities to present itself. Perhaps we see it in the film’s opening scenes, when a married woman feels a flush of guilt upon considering an affair with another man. Or maybe it comes later, when our hero finds himself caught in an embarrassing moment during an encounter with a woman, unable to carry on with a date that seemed promising. Or possibly it appears toward the end, when a young woman clings to a life threatened by self-inflicted wounds in a hospital as cold and sterile as the rest of the world feels. Whose shame do we experience and what is the source?

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Post-Earth, Post-Feeling

afterearth

All sentiments aside about the film’s director, After Earth exists as an elegant and pensive examination of the power of human emotion.  While it fails to elicit the proper excitement and suspense often required of its chosen genre, the poignant tale of a young boy transforming into his own hero is a unique and thoughtful statement on one’s ability to surpass insurmountable obstacles.

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Ghosts in the Broken Machine

machinist

How does the mind filter what is real from what is unreal? How does it separate events perceived in an unreal environment from a real one? For most of us, fortunately this isn’t an issue. From initial consciousness the mind has been wired with a series of logical codes that allow us to infer and draw proper conclusions given certain information. But not all of us are so fortunate.

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Baz Luhrmann’s Gilded Dreams — “The Great Gatsby” Review

Gatsby

The Great Gatsby unfolds upon the screen like a cross between two of Baz Luhrmann’s earlier films — the sparkly romance of Romeo + Juliet met with the hypnotic bacchanalia of Moulin Rouge. In typical Lurhmann tradition, the stories contain familiar themes: tragic lovers, missed connections, and societal and/or economic obstacles that prevent such love from blossoming. The visual spectacle is captivating, excelling at what Luhrmann does best — elevating his viewer to that shimmery cinematic plane where lights, color, sound and love are so bright and loud and real that it seems no strip of canvas could contain them. This is the magic that is The Great Gatsby.

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Waking from “Oblivion” — A Review

Oblivion

Oblivion is the result of too much story and not enough canvas. Think of a house with a tiny frame, or a painting wadded up into a crumpled ball. The story — trust me, it’s in there somewhere — is a compelling work of creative fiction that both reveals and represses human nightmares of technological development. A speculative creation of a sweeping, gothic variety, Oblivion is too ambitious and in its efforts to say too much all at once, its message becomes lost in a frenzied shout of sound and fury.

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