Going into the season 6 finale, I assumed that any episode following the exhilaration and brilliance of “Battle of the Bastards” would suffer from at least some measure of anticlimax, regardless of the quality of the episode itself. I am happy to report that I was sorely mistaken in my assumption. I was mistaken to the extent that I must concede that while “The Winds of Winter” was as dissimilar from “Battle of the Bastards” as two episodes could be in such a stylistically consistent series as Game of Thrones, it was absolutely on par with that installment in every respect save for action, which it obviously need not be because that wasn’t the focus of this episode, that being central to the aforementioned difference. Indeed, several aspects of this episode were stylistically unique for the series, not just in relation to the previous installment.
The quality of Game of Thrones in terms of narrative and production value has been so consistently high from the very beginnings of the series that it becomes easy to lose perspective on just how much the show has grown and continually raises the bar for the key elements of the show. The scale of Game of Thrones production is enormous and unprecedented, with a considerable amount of resources at the team’s disposal. What one does with those resources from a creative standpoint, though, is what really determines the quality of programming such as this, and Game of Thrones has reached a new pinnacle in several respects with “Battle of the Bastards.” Continue reading
When Cersei answers Lancel’s threat of “order your man (the Mountain) to step aside or there will be violence” with “I choose violence,” she’s not merely delivering a steely retort to her cousin’s attempt at intimidation through the force of the the Faith Militant, she’s essentially delivering the thesis statement of the episode. In “No One,” Cersei and Arya both “choose violence” in the face of very credible threats to their safety, the Hound chooses violence over the pacifism Septon Ray preached in the previous episode, and the masters of Slaver’s Bay choose violence in defiance of the diplomatic arrangement brokered by Tyrion, Conversely, Jaime and Brienne choose diplomacy, which is undercut by the Blackfish choosing violence by making his last stand at Riverrun rather than traveling north to aid Sansa in her campaign for Winterfell. Continue reading
Before I began watching Lost in 2004, I, as a viewer and certainly as a screenwriter, had always considered flashbacks to be a crutch meant to prop up weak narratives in almost all cases. Much like voiceover, if you’re going to use flashbacks in your script and pull it off, you have to do so masterfully and in a way that is innovative and integral to the narrative, the way that Stanley Kubrick used voiceover in A Clockwork Orange or Martin Scorsese and Nicholas Pileggi did in Goodfellas. The voiceover in those films wasn’t used to explain things or fill in holes in the narrative, but rather guided the narrative and fleshed out the characters, adding color to an already rich and detailed on-screen painting. In short, those two films exemplify how to utilize voiceover as a tool rather than a crutch, an integral part of a narrative, much more akin to the way first person narration is used in literature than the lazy, newsreel style of expository narration employed by weaker features. Continue reading
It has been said in so many ways so many times, but there really is something rather obscene about the spectacle of a disproportionately white and male collection of individuals almost completely out of touch with the general population getting together in an exclusive and bizarre setting to essentially pat each other on the back for perpetuating the very things that set up and reaffirm the disconnect and lack of diversity in the first place. Continue reading
I can’t help but perceive a certain distance implied in the title A Most Violent Year. It’s as if the speaker is regarding the year in question with an intimate knowledge of the violence referenced without having actually been a part of it, per se. It’s reminiscent of when one hears of the untimely death of someone one doesn’t know personally and remarks something along the lines of “how tragic;” acknowledging the loss without feeling it. That sort of detachment lays at the heart of the journey of Abel Morales (Oscar Isaac) in J.C. Chandor’s film. Continue reading
There is a strange phenomenon that occurs in films where something can seem both drawn out and rushed at the same time. This usually happens when filmmakers try to do too much at once. For example: when one is attempting to tell a long, epic story in a normal cinematic run-time. Or when one is trying to have their cake and eat it too when it comes to the theistic, supernatural, or miraculous aspects of a particular story. Continue reading
There’s a lot to talk about in the Star Wars: The Force Awakens teaser besides what some hoopleheads said on twitter about a black man having the audacity to appear in a moving image and frankly there’s a lot to chew on besides some manufactured controversies. That lightsaber, however, is worth discussing, which I’ll get to in good time. Continue reading
The way some racists reacted to John Boyega’s face popping up in the first teaser for Star Wars: The Force Awakens reminds me of the Dave Chappelle sketch where Neil Brennan’s head explodes after the blind black klansman takes off his hood. One thing confuses me though; are the racists upset that there’s a black stormtrooper or that there’s a black actor in the film at all? If it’s the latter, they’re even dumber than I thought they were, because that ship has sailed long ago. If it’s the former, I think I understand the nature of this idiocy, which I’ll explain below. Continue reading
Channing Tatum doesn’t say much during the first twenty minutes or so of Foxcatcher. As a matter of fact, he doesn’t say much throughout most of the film. We first meet him as Mark Schultz, a wrestler training and hulking around the ring, fit, disciplined, and physically domineering. We then see him in a car that looks too small for him, in front of a room of elementary school children, awkwardly speaking about his Olympic triumph, dwarfing the small children. The first time we see him have a meaningful interaction with another human being is when his brother Dave (Mark Ruffalo) enters the picture. Even then, their meaningful interaction is not a verbal conversation but a session in the ring stretching, warming up, and sparring with a palpable intimacy and athletic intensity. Even when Mark meets John du Pont (Steve Carell) the meeting that jump starts the main spine of the narrative, John does most of the talking. Tatum’s Mark appears uncomfortable in the world outside of the ring and a poor fit for it at that. His actual presence seems out of place outside of the strictures of his sport.