Odds are that you have probably, at some point in time, had to ask someone to tilt their telephone so that when they take a photo with their smartphone, then the picture will be nice and wide. For Damien Chazelle’s latest short film about a stunt double, the Oscar-winning director has opted against that piece of advice as he strives for Vertical Cinema. Steven Soderbergh, and other notable directors, have already toyed with shooting feature-length films with iPhones, but Chazelle’s film has been shot in portrait mode, thus producing vertical video, in an attempt to showcase the camera features on an iPhone 11 Pro. Continue reading “Vertical Cinema: Damien Chazelle and Apple Team Up for Short Film”
The following is a review of The Irishman — Directed by Martin Scorsese.
I’ve said it before, and I’ll say it again. Martin Scorsese would arguably be on the Mt. Rushmore of American filmmakers if such a thing existed. When Scorsese laments the supposed death of cinema or questions the artistic merit of modern blockbusters, you listen to him for the simple reason that few people know the medium, the power of cinema, or the industry as well as he does. His understanding of the power of what is within or out of the frame of cinema is indescribable. Though his detractors may suggest that he is a glorified gangster film director, nothing could be further from the truth. With The Irishman, Martin Scorsese has given us a haunting and elegiac historical epic disguised as a greatest hits gangster film that stresses that, even in the autumn of his life, the master hasn’t missed a beat. Continue reading “REVIEW: The Irishman (2019)”