Thursday, September 25, 2014
Having previously given the world a terrific look into what Doctor Who would be like as a Saturday morning cartoon, artist Stephen Bryne has moved on to Buffy The Vampire Slayer, carving out a niche as the guy who makes intros to imaginary cartoons the world deserves but never got. Bryne, clearly full to bursting with affection for the show, has packed his intro with nods to Buffy's history, from Willow's changing hair color to visits from ghostly versions of Tara and Anya to a glimpse of a world full of nothing but shrimp. As with the animator's previous work, the character designs are incredibly charming, and the wild adventures the Scooby gang never got to go on make us wistful for the actual animated Buffy series that was developed years ago but never happened.
With stuff like this under his belt, we'll be on the lookout for anything else Bryne does in the future—perhaps an animated version of Game Of Thrones, or he could go the other way and make live-action intros for Futurama or The Venture Brothers.
Monday, September 8, 2014
If you enjoy wearing clothes, but don't think they sufficiently protect you from the gnarled, grasping fingers of omnipotent government forces threatening to steal your secrets and charge you with thoughtcrimes, this may be for you. The Affair, a British fashion outfit that specializes in tee-shirts inspired by literature, is trying to get a clothing line inspired by George Orwell's Nineteen Eighty-Four off the ground. Naturally, they have taken to Kickstarter, rather than accepting investment capital from within a system that works only to sublimate the human will.
The clothing itself is fairly standard. It features things like shirts, pants, and jackets that have been cunningly renamed as Party Workshirts, Party Chinos, and Outer Party Jackets. The selling point is the presence of the UnPocket, a detachable pocket made from the latest in "stealth fabrics" that securely blocks all Cell, WiFi, GPS, and RFID signals. This will allow wearers to tweet or text about how their new garments free them from the prying eyes of Big Brother, or big pharma, or big dairy, or whoever, before they tuck the cell phone into the UnPocket, where it will never be touched again.
Sunday, August 17, 2014
Sometimes, it takes Hollywood a while to find an engaging way to depict emerging technologies. For example, the '90s are littered with strained attempts to make the act of surfing the Internet—an act that involves a lot of sitting and staring and not moving—look interesting enough to compete with action blockbusters of the day. Over the last several years, many filmmakers have tried to do the same for text messages, with mixed results. For the latest video in his Every Frame A Painting series, Tony Zhou takes a look at those attempts.
Monday, July 7, 2014
No matter how many buildings, spacecrafts, and sentient robots Michael Bay explodes before our eyes, the director can't seem to get any respect. His movies are widely panned by critics, and his bombastic filmmaking style is routinely mocked by respectable, erudite writers on the internet. Nevertheless, his films continue to clean up at the box office, so someone must be enjoying them. With the latest installment in his Every Frame A Painting series, Tony Zhou looks into why.
Michael Bay - What Is Bayham? thoroughly breaks down the director's visual style, with close looks at Bay's use of off-screen space, his signature twirling camera movements, and how some of his style can be traced back to West Side Story. Featuring comparisons to the likes of Hot Fuzz, Jurassic Park, and The Lego Movie along the way, it's a detailed, well-edited examination of what makes a Michael Bay movie tick.
Bay's movies will probably continue to make gobs of money, but this video may at least help his detractors articulate their distaste with a greater degree of specificity.
Michael Bay - What is Bayhem? from Tony Zhou on Vimeo.
Sunday, May 4, 2014
Earlier this month, NBC announced that it would be accepting submissions for new comedy series through a website called The NBC Comedy Playground, giving thousands of aspiring filmmakers with a camera in one hand and a fistful of dreams in the other the chance to see their visions come to life on the small screen. Now they are being sued for it. Comedy Playground, a comedy workshop in Los Angeles, has filed a complaint with the U.S. Central District Court of California accusing NBCUniversal of unfair competition as well as federal and state trademark infringement. The group's complaint—which is available to read on The Wrap—alleges that the similarity between the names will leave their potential customers hopelessly confused. They claim that they've already received multiple communications from people under the mistaken impression that their comedy workshop is involved with NBC, clogging their inbox to the point where only lots of money in damages can set things right.
NBCUniversal has yet to comment on the lawsuit, presumably because they're hard at work coming up with a new name for their website that doesn't fly in the face of trademark law—something like Laughs Across America, The NBC Comedy Playground (In No Way Affiliated With Comedy Playground), or The Second City.
Monday, March 10, 2014
show about zombies stalking the ravaged earth and the show about the show about zombies stalking the ravaged earth, AMC has passed on the sci-fi pilot Line Of Sight. The series, a co-production between Fox TV Studios and AMC Studios, was to star The Walking Dead's David Morrissey as “Lewis Bernt, a National Transportation Safety Board (NTSB) investigator who survives a mysterious plane crash, bringing him on a quest to discover the accident's cause." Fox TV Studios plans to shop the show around elsewhere, so Morrissey may yet play a man "whose entire sense of self, his own life and the world as he knows it, completely unravels in a whirlwind of obsession and paranoia” on another network.
Saturday, February 22, 2014
Before making The Lego Movie, directors Phil Lord and Christopher Miller made 21 Jump Street, an adaptation of a police procedural about two cops who go undercover as high school students to stop teenage crime. To follow that up with an animated family film sounds like quite a jump, but the two movies have something in common: both take what sound like cheap attempts to cash in on pieces of pop culture detritus and turn them into warm, funny, genuinely involving comedies. The Lego Movie exists to sell Lego sets, and it succeeds. The temptation for many filmmakers would be to stop there, but Lord and Miller have gone further to make an hour-and-a-half long toy commercial that's actually worth watching.
The appeal of The Lego Movie begins with its visuals. The film uses computer-generated animation to bring the blocky, jointless denizens of its world to life, but there's a charming jerkiness to the way they move that more closely recalls stop-motion animation of the kind found in The Nightmare Before Christmas than, say, the smoothness of Disney's Frozen. There isn't one part of the movie that's dull to look at, and several that reinvent the look of cinematic cliches. At one point, a large object crashes into an ocean, something most people have seen in one form or another in action movies beyond count. But when the object hits the water in this movie, the be-dotted surface of the sea, made entirely out of blue sheets of Lego, bursts outward in a choppy, angular wave that's playful and surprising. Even if the rest of the movie were a bore, the visual creativity alone would make it worth seeing.
Luckily, the meat of The Lego Movie is engaging and funny. Our hero is Emmet (Chris Pratt), a cheerful construction worker having trouble establishing his own identity. One day after work he has a chance encounter with alternative outsider Wyldstyle (Elizabeth Banks) and soon finds himself in the center of a movement to stop the nefarious President Business (Will Ferrell) from destroying the world. The plot moves very, very quickly, blasting from one standby Lego setting (the wild west, medieval fantasy world, outer space) to another with the breathless intensity of a six-year-old boy raised on Hollywood action movies making the story up as he goes. The movie throws jokes and pratfalls at the audience almost faster than it can react to them. Pratt, who plays the irrepressibly happy Andy on Parks and Recreation, is a great fit for the lead role. He never seems less than delighted to be saying his lines and makes sure the energy level doesn't dip below its manic, frenzied high.
The Lego Movie also takes great advantage of the many licensing agreements The LEGO Group has made over the years. Batman (Will Arnett) has a role as Wyldstyle's grouchy boyfriend. Gandalf and Dumbledore compete for the title of most learned wizard in the room, and The Simpsons' Milhouse shows up as a member of the resistance high command. Sure, they're all in Lego form, but it's rare to have so many pop cultural figures gathered in one place. The giddy inclusivity brings to mind South Park's "Imaginationland" episodes, but The Lego Movie doesn't depend on this novelty to support itself. It's always rushing to the next joke, the next visual, the next twist in the story.
The final twist in the story is particularly loopy, and adds a meta-textual layer too inspired to spoil here. All this movie needed to do was sell toys. It will do that- kids who see it are going to be asking their parents for Lego sets for Christmases uncounted to come- but Miller and Lord have worked hard to make it entertaining for the rest of us, too.