Amazing in Motion is a set of projects by Lexus that explore the complexity of motion. The second installation of the brand series, Swarm is a spirited story featuring custom-designed small aircraft known as quadrotors that roam through various locations in Vancouver, Canada at night.
The documentary Gennadiy follows Gennadiy Mokhnenko, whose life cause is to save the children forced to the streets of Mariupol, Ukraine, since the day the Soviet Union fell. The filming challenges are often unexpected. “We had to be ready in a moment’s notice to adapt, whether it be moving locations or adjusting the story,” said producer/director Danny Yourd.
Peter Jackson’s The Hobbit: The Desolation of Smaug, a production of New Line Cinema and Metro-Goldwyn-Mayer Pictures, and the second installment in the Hobbit film trilogy, will hold its worldwide premiere at the Dolby Theatre in Dolby 3D and Dolby Atmos sound on Monday, December 2.
Vidiyum Munn, a dark suspense thriller by director Balaji K. Kumar, will premiere in theaters across India in Auro 11.1 by Barco. Kumar says he discovered the capabilities of Auro while watching Vishwaroopam, the first Indian movie to feature the new format.
Filmed in 3D, How Cities Work visits London, New York, Barcelona, Las Vegas, Berlin, San Francisco and many other iconic cities following the amazing technological achievements, planning and engineering feats that make life in these great cities possible and pleasurable for the masses. BTV Post handled all the post-production for the TV series How Cities Work, which was commissioned by Discovery. BTV Post worked closely with Electric Sky Productions to ensure How Cities Work retained its 3D visuals and in-depth footage.
“Sometimes it feels like I’m fighting for a life I ain’t got time to live,” says Matthew McConaughey’s character at one point in this movie. This is a based-on-a-true-story of the early dark and devastating days of AIDs, told from a homophobic hustler’s point of view. It’s an angry movie. It’s angry at the Food and Drug Administration for abdicating its responsibility to protect the quality of life; angry at the Law for disallowing sick people to legally be able to extend their lives; angry at pharmaceutical companies for selling drugs that benefit only the companies that sell them. But it’s also an award-inspiring movie.
This movie is more ambitious, more aggressive and more atmospheric than the first one. It’s darker, more desolate, with characters that are more multi-dimensional, sets that are more elaborate, a plot that is more complex. And yet, it ends so abruptly that it makes the whole movie feel more like a set-up for the next chapter than a fully formed piece of satisfying entertainment. The audience simply left in silence when the credits began. There was no applause. Did they, like me, feel a bit cheated? The movie is long, overburdened with detail, incessantly gloomy, intermittently cruel, but only lightly violent. But there is real production value here.
This is, at best, a mildly entertaining movie for older audiences. The good news is – there is nothing embarrassing in it. The bad news is – there is nothing particularly funny either. If you’ve seen the trailers, you’ve seen most of the best jokes. The whole movie plays like a montage of Las Vegas’s greatest hits, a look at what there is to see and do in the city. If you’ve been there, you’ve seen and done them all. You know the stars of this movie – Michael Douglas, Robert De Niro, Kevin Kline and Morgan Freeman. Of those, Freeman is the most fun to watch because he can elicit a smile from just a twist of the head, the arch of an eyebrow.
In some ways, this is a perfect title. Here is what will be “lost” if you decide to see this movie: your time, the price of admission, the cost of transportation to get there, any other expenses you have. Oh, but this is a huge waste of time – and everything else. And here are six more opinions: I saw it on a Monday night, and when the film began, there were seven people – including me – in the theatre. Not a big audience, but not bad for a Monday. But then, two left. Then one more.
Horror films have a certain style: cramped quarters, heat, now-you-see-it-now-you-don’t or did-you-really-see-it. Lighting for the suspense, and horror of the genre is always a particular challenge but one that cinematographer Steve Romano believes he handled nicely the indie feature The Girl, which was directed by Jennifer Blanc-Biehn.
