inspiral + movies   129

From Hidden to In the Mood for Love: why the 2000s are my favourite film decade | Peter Bradshaw | Film | The Guardian
Featuring Coen brothers masterpieces and an astonishing run by Michael Haneke, this was the decade in which film rediscovered its history – and explored its future – thanks to digital technology
film  movies  advocacy  2000s  author:PeterBradshaw  Guardian  2018 
march 2018 by inspiral
How Rotten Tomatoes may have radically skewed the Oscars’ Best Picture race - The Verge
But these films are no longer getting segregated into the screenplay categories. Now, they’re Best Picture nominees, and even serious contenders for the award. Spike Jonze’s 1999 movie Being John Malkovich didn’t receive a Best Picture nomination, but his 2013 movie Her did. Wes Anderson didn’t get a Best Picture nomination for 2001’s The Royal Tenenbaums, but he did for 2014’s The Grand Budapest Hotel. And Paul Thomas Anderson’s 1997 hit Boogie Nights wasn’t nominated for Best Picture, but his Phantom Thread is a nominee this year. These are all cases where young, disruptive directors have gradually become more accepted and familiar to the Academy over time. But their nominated films are just as wonderfully weird, uncompromisingly specific, and personal as the films that missed out a decade or more earlier. And their modern equivalents, first-time solo directors Greta Gerwig and Jordan Peele, are starting their directorial careers with Best Picture nominations for their own idiosyncratic personal visions.
Oscars  film  movies  passion  review  RottenTomatoes  trends  TheVerge  2018 
march 2018 by inspiral
‘Black Panther’ Is Not the Movie We Deserve | Boston Review
Black Panther is not the movie we deserve. My president already despises me. Why should I accept the idea of black American disposability from a man in a suit, whose name is synonymous with radical uplift but whose actions question the very notion that black lives matter?
BlackPanther  film  movies  review  race  BostonReview  2018 
february 2018 by inspiral
Theater chains are terrified of MoviePass because of subscribers like me - The Verge
MoviePass is radically changing the value of the theatrical film experience, but what does that mean for consumers and theater owners?
MoviePass  film  movies  subscription  review  trends  TheVerge  2017 
december 2017 by inspiral
Millennials don’t really care about classic movies | New York Post
It appears that the “Golden Age of Cinema” has lost its sheen to the young over the years, as millennials are turning their back on classic movies.

A new study finds that less than a quarter of millennials have watched a film from start to finish that was made back in the 1940s or 50s and only a third have seen one from the 1960s.
film  movies  classic  consumer  millennials  USA  NYPost  2017 
august 2017 by inspiral
The Orange Is the New Black Netflix Hack Was a Terrible Idea | WIRED
Consider that in 2011, BitTorrent accounted for 23 percent of daily internet traffic in North America, according to network-equipment company Sandvine. By last year, that number sat at under 5 percent. “There’s always going to be the floor of people that are always going to be torrenting,” says Sandvine spokesperson Dan Deeth. That group will surely enjoy whatever Piper’s up to in season five. But the idea that so small a cohort might prompt Netflix to negotiate with hackers seems absurd.
OrangeistheNewBlack  piracy  television  film  movies  BitTorrent  decline  streamingmedia  Netflix  review  Wired  2017 
may 2017 by inspiral
This Is Spinal Tap’s $400 Million Lawsuit - Bloomberg
The creators of This is Spinal Tap, the most influential mockumentary ever made, have been paid almost nothing. The rock gods are angry.
SpinalTap  film  movies  accounting  revenues  review  critique  Hollywood  Bloomberg  2017 
april 2017 by inspiral
Hollywood Has No Idea What to Do with VR
VR will never become the new cinema. Instead, it will be a different thing. But what is that thing? And will audiences trained in passive linear narrative—where scene follows scene like beads on a string, and the string always pulls us forward—appreciate what the thing might be? Or will we only recognize it when the new medium has reached a certain maturity, the way audiences in 1903 sat up at The Great Train Robbery and recognized that, finally, here was a movie?
virtualreality  film  movies  innovation  review  critique  evolution  TechnologyReview  2017 
february 2017 by inspiral
Apple Is in Talks With Hollywood for Early Access to Movies on iTunes - Bloomberg
Apple Inc. is pressing Hollywood studios for earlier access to movies, according to people with knowledge of the matter, a move that would bolster the company’s iTunes business.

21st Century Fox Inc., Time Warner Inc.’s Warner Bros. and Comcast Corp.’s Universal Pictures all confirmed over the past week that they are looking to offer high-priced, home-video rentals of new movies shortly after they open in theaters. Some studio executives have been pushing to allow home rentals as early as two weeks after theatrical debuts and are considering a deal with iTunes as one option, said the people, who asked not to be identified because the discussions are private.
film  movies  windowing  decline  onlinevideo  Apple  iTunes  Bloomberg  2016 
december 2016 by inspiral
From a draughty hut to Hollywood: the rise of Peter Jackson's secretive animation giant | World news | The Guardian
New Zealand’s Weta Digital, based in a Wellington suburb, has become a go-to firm having broken the mould with films such as Lord of the Rings and Avatar
WetaDigital  film  movies  CGI  profile  Wellington  NewZealand  Guardian  2016 
october 2016 by inspiral
Did Someone Order a Pizza? - Eater
A history (though no, not an oral one) of pornography's most persistent narrative cliche
pizza  pornography  film  movies  review  Eater  2016 
october 2016 by inspiral
REDEF ORIGINAL: Letting it Go: The End of Windowing (and What Comes Next)
There are few concepts more fundamental to the video media business than that of content "windowing" – yet even this strategy is crumbling under the pressures of digital distribution. How will rights owners maximize the value of their content in the post-window era? The answer depends on how badly you want it.
film  movies  windowing  distribution  revenues  maximisation  forecast  author:MatthewBall  MediaRedef  2016 
august 2016 by inspiral
Could This Be the Year Movies Stopped Mattering? | WIRED
Clearly, film still has an impact—it’s just that, in 2016, that impact feels diffuse, and is certainly difficult to ascertain. Which is why we need one of those mass-audience, culture-shifting flicks more than ever: Not only do they bring us together, physically and emotionally, they supply us with images and ideas that trickle down and influence all art, even if takes years for that influence to be felt. Maybe, in the next few months, that kind of movie will arrive, and restore film back to its peak pop-culture powers. If so, it will give 2016 a cheer-worthy comeback story, one with big names, a killer third-act twist, and plenty of suspense. Who knows? Maybe they’ll even make an awesome TV series about it someday.
film  movies  culture  review  decline  Wired  2016 
august 2016 by inspiral
Snapchat unveils 360-degree ad format with campaign for Sony's Don't Breathe horror flick | Social Media | The Drum
Snapchat has debuted a new 360-video ad format, with Sony Pictures Entertainment (SPE) rushing to be the first brand out of the gate with a campaign for its forthcoming horror movie Don’t Breathe.

The video push marks the first time Snap Ads have integrated a 360-degree element. Essentially a 10-second Snapchat video ad, the latest format from the messaging app allows viewers to ‘swipe up’ in order to see an intimate 360-degree version of the trailer via a web page link inside the app.
Snapchat  DontBreathe  360video  creativeshowcase  onlineadvertising  film  movies  TheDrum  2016 
august 2016 by inspiral
As 'Suicide Squad' Bombs With Critics, What Can DC Comics Change to Catch up With the Marvel Universe? - The Atlantic
As Suicide Squad debuts to poor reviews, efforts to compete with Marvel are being dogged by creative issues and studio interference.
SuicideSquad  DCComics  film  movies  critique  comparison  Marvel  TheAtlantic  2016 
august 2016 by inspiral
Ghostbusters' Snapchat Ad Lets Users Use Both Sides of the Phone's Camera to Add Filters | Adweek
Despite poor initial reactions to the YouTube trailer for this summer's Ghostbusters reboot, Sony Pictures is pulling out all the bells and whistles to promote the movie—including a big push on Snapchat that targets folks who may not be familiar with the original '80s version of the film.
Today, the film studio purchased Snapchat's sponsored lens—an ad unit that fits alongside the app's popular whacky and colorful graphics that overlay selfies. The one-day campaign is billed as the first campaign on the app that uses both sides of a phone's built-in camera lens.
Here's how it works: When a user presses their finger to the screen to apply a Snapchat lens to their face, a Ghostbuster-sponsored filter is the first one that pops up. Using a phone's front-facing camera, Snapchatters can shoot the character Slimer from the film with a virtual proton pack. The ad also encourages consumers to toggle to the phone's rear-facing angle, which triggers slime to fall down the screen. Meanwhile, the iconic music from the film plays in the background.
Ghostbusters  movies  film  Snapchat  creativeshowcase  mobilemessaging  AdWeek  2016 
july 2016 by inspiral
20th Century Fox Buys First Snapchat Lens Takeover Ad | Adweek
20th Century Fox is turning X-Men fans into their favorite characters on Snapchat today. The film studio bought out today's line-up of lenses—the photos and videos that users can apply to their snaps—with different lenses based on nine of the movie's characters: Beast, Professor X, Quicksilver, Apocalypse, Storm, Nightcrawler, Cyclops, Mystique and Magneto.
The filters promote the film, which comes out on Friday. Whether or not users will respond well to seeing ads soley in the app today is unclear, as a number of users have already complained on Twitter about not being able to access the app's usual stable of lenses like filters that make it look like you're vomiting a rainbow or a filter that turns your face into a dog.
Snapchat  20thCenturyFox  XMen  SponsoredLens  creativeshowcase  takeover  film  movies  AdWeek  2016 
may 2016 by inspiral
Paramount Is Launching a Teenage Mutant Ninja Turtles Chatbot on Kik for the New Movie | Adweek
To promote the upcoming film Teenage Mutant Ninja Turtles: Out of the Shadows, Paramount Pictures is launching a full-blown Kik campaign centered around turning the four pizza-chomping, slang-slinging, crime-fighting sewer heroes from New York City into chatbots.

The messaging app—popular with users not old enough to have been alive when the original Ninja Turtles debuted—has a new bot in the Bot Shop made in the likeness of Michelangelo. After chatting with "Mikey" for a little while about his favorite topic (pizza), the turtle with the orange bandana then throws you over via a link to fellow ninja turtle bot: the science-centric Donatello.
TeenageMutantNinjaTurtles  Kik  chatbots  creativeshowcase  film  movies  mobilemessaging  AdWeek  2016 
may 2016 by inspiral
The villain gap: Why Soviet movies rarely had American bad guys · For Our Consideration · The A.V. Club
Here, one runs the risk of casting Soviet media in too positive a light, because the climactic scene of the same film, Meeting At The Elbe, depicts Americans beating up a black soldier—one of their own—in the American-occupied zone of postwar Berlin. (One uncomfortable truth of the Cold War is that it sometimes put the Soviets on the right side of history—in support of civil rights in America, for instance—for less-than-noble reasons.) And yet the Americans still aren’t villains; they’re victims. Both sides of the Cold War often depicted the other’s citizenry as victimized, but the Soviet Union elevated it into an art, much in the way that the American mainstream developed the Soviet super-villain into a fetish object. Instead of portraying Americans as eroticized torturers, inhuman strongmen, or sinister ringleaders, the few Soviet movies that do pit Soviet and American characters against each other mostly portray Americans as misled or misinformed.
film  movies  ColdWar  Russia  USA  comparison  politics  review  AVClub  2016 
april 2016 by inspiral
The two scariest words for Hollywood studios in 2016: animated movie | Toronto Star
Predictably, the supply boom comes down to economics. Animated films still offer the largest risk/reward equation in the movie business. It’s the most profitable movie genre, averaging a 36 per cent return over the past decade, according to analysis by SNL Kagan. Science fiction and fantasy films, with a 26 per cent profit margin, took a distant second place, while dramas and comedies barely broke even.
Yet animation is the most expensive genre. Software engineers and CGI artists don’t come cheap, and the sticky-fingered masses demand A-list actors in animated fare, if only for their voices. Piper Jaffray analyst Stan Meyers said animated films generally cost about $100 million to make, as well as an additional $150 million to promote.
film  movies  animation  revenues  profitability  review  TheStar  2016 
march 2016 by inspiral
Coming Soon – Creative Review
Often pieced together from little or no footage from the films they advertise, Adam Lee Davies traces the development of the movie teaser trailer, from Star Wars to High-Rise
film  movies  trailer  guide  history  CreativeReview  2016 
march 2016 by inspiral
Sundance: How Amazon, Netflix Turned the Market on Its Head - Hollywood Reporter
The streaming services are striking early and often for the fest's most sought-after films as Netflix helped bid up the record-setting price of 'Birth of a Nation' in an overnight auction.
Sundance  film  movies  Netflix  Amazon  prices  HollywoodReporter  2016 
january 2016 by inspiral
Theaters are boycotting Netflix’s first feature film, which is great for Netflix - Quartz
But mostly, if Netflix films like Beasts of No Nation get good press and are well-made, they’ll simply further promote the brand to a type of global consumer–a viewer interested in smarter, edgier films with social relevance–that the blockbuster film producers have already largely forsaken.
Netflix  film  movies  BeatsofNoNation  streamingmedia  Quartz  2015 
october 2015 by inspiral
Hollywood in China: Selling Out or Cashing In? | The Diplomat
Are Hollywood filmmakers really selling out to China — and Chinese censorship?
Hollywood  film  movies  China  censorship  TheDiplomat  2015 
june 2015 by inspiral
Confessions of a location scout: why the New York beloved of the movies doesn't exist any more | Cities | The Guardian
There is surely no other city we know as completely from cinema and TV as New York. Yet according to film location scout Nick Carr, what he is often asked to find is anything but the reality of the Big Apple
film  movies  locationscout  NewYork  gentrification  Guardian  2015 
may 2015 by inspiral
How 1980s Atlanta Became the Backdrop for the Future — The Atlantic
The Southern capital has set the scene for dystopian thrillers such as Divergent and The Walking Dead, most notably via buildings designed by the architect John Portman.
Atlanta  film  movies  TheAtlantic  2015 
april 2015 by inspiral
How Japan became a pop culture superpower » The Spectator
Virtually every childhood craze of the past 30 years has its beginnings in Japan. Today its influence is stronger than ever
Japan  culture  dominance  global  movies  Spectator  2015 
february 2015 by inspiral
There Is No “Genius of the System” - The New Yorker
Movies are wilder, more daring, more original than ever. In the age of Harris’s nostalgia, there might not have been superhero films that wore the name of their franchise brand in the title—but there would also never have been anything as daring and original as “To the Wonder” or “The Grand Budapest Hotel” or “The Wolf of Wall Street” or “Somewhere.” The studios are unchained—and so are the directors and the independents. Perhaps Louis B. Mayer would never have made “Furious 7”; he would never have made “The Tree of Life,” either. And these are higher-budget independents; those who work on extremely low budgets make movies, such as “An Oversimplification of Her Beauty” and “Butter on the Latch,” of an astonishing, surpassing audacity and originality.
film  movies  funding  industry  indie  critique  advocacy  NewYorker  2014 
january 2015 by inspiral
VR Movies Will Require New Forms of Storytelling -- Vulture
But one bigger question looms over all these debates: How interactive should VR films be? The technology will be there soon, but filmmakers are wary the immersive experience will be lost if viewers have too much power. "For the type of storytelling I'm interested in, I think interactivity is a problem," Pixar director Sasha Unseld told a panel at a recent Oculus developer conference. "The audience is a horrible storyteller."
virtualreality  film  movies  innovation  opportunity  OculusRift  Vulture  2014 
december 2014 by inspiral
The Perils of an All-Digital Movie Future -- Vulture
Celluloid is far from a perfect medium, but ironically, all those splices and scratches that we used to see as problems now seem like strengths: You can scratch a piece of film and it can still run through a projector. You can lose a frame or two — hell, you can lose an entire reel — and the rest of the film will still remain intact. Indeed, many of the great classics of the silent era were restored and reconstructed from multiple, incomplete film elements; usable parts of one print found in one corner of the world could be joined together with usable parts from another print found elsewhere. Not unlike with books, the simplicity of the physical medium held the key to its longevity. “Five hundred years from now, someone could look at a strip of film and probably reverse-engineer a projector from it,” says Horak. “Not that it would ever last this long, but if somebody looked at a DVD 500 years from now, they wouldn’t know what the hell it was.”
film  movies  archiving  digital  critique  Vulture  2014 
december 2014 by inspiral
Moving Into The Future of Film: Thoughts on 2015 | Tribeca
Some changes in the industry that are poised to further disrupt the system in 2015.
film  movies  trends  streamingmedia  atomisation  niche  TribecaFilm  2014 
december 2014 by inspiral
Lynch, Waters, Soderbergh: A Generation of MIA Filmmakers – Flavorwire
So, where does he think it’s going? “It feels incredibly vulnerable to me,” he says. “Look, I’m surprised the superhero stuff has the legs that it does, but you look at what Warner Brothers and Marvel have mapped out, you add into it all of the Universal monster movies and all these others platform plays, and you better hope that nobody’s taste changes for the next five years, you know? That’s not a diverse portfolio!”

This may not be the new normal — studio filmmaking may be on the verge of the point it reached in the mid-to-late 1960s, when a bad run of bloated, runaway productions, reflecting market calculation rather than vibrant storytelling, just about put the studios out of business. The movies only managed to save themselves because the suits handed over the car keys to young filmmakers with original stories to tell and a new way of telling them. That’s how the New Hollywood movement was born — less out of the inspiration of the new than the desperation of the old. And since it’s a cyclical business, that might be what saves the movies again: the urge to burn it all down and start over fresh. The question is, how many great films and great filmmakers will we lose in the meantime?
film  movies  trends  indie  DavidLynch  SpikeLee  StevenSoderbergh  budget  critique  Flavorwire  2014 
december 2014 by inspiral
The Independent Spirit Awards Nominations: Predictions - The Atlantic
Prediction: The Independent Spirit Award's nominations this year will look a lot like the Academy's.
film  movies  awards  SpiritAwards  AcademyAwards  TheAtlantic  2014 
november 2014 by inspiral
FWA winner | The Colors of Motion
The Colors of Motion is an engaging web app that allows a user to interact with a visualization of the colors of a movie. The site was built using a myriad of technologies ( bash, PHP, AJAX, JSON, Backbone ).
colour  film  movies  creativeshowcase  FWA  2014 
september 2014 by inspiral
Booming film industry boosts South Africa’s economy - FT.com
The film industry is a rare bright spot in South Africa’s economic gloom. It has created more than 35,000 jobs, up from 4,000 in 1995, and contributes R3.5bn to gross domestic product, according to government figures.
film  movies  SouthAfrica  growth  opportunity  FinancialTimes  2014 
september 2014 by inspiral
Future of Film: Studios Will Have to Take Their Cues From TV Networks
The key factor insulating the movie business from this threat is consumers' desire for a shared movie experience. There is no denying that watching Mr. Chow jump out of the trunk in the original Hangover is so much better in a crowded theater. Yet everywhere we look, we are witnessing a personalization of the consumer's media experience, with shared experiences becoming less important. Virtual reality in the near future is also likely to enable incredible immersive entertainment with the ability to create a shared viewing experience.
film  movies  onlinevideo  streamingmedia  trends  forecast  HollywoodReporter  2014 
september 2014 by inspiral
Made for China – The New Inquiry
As US audiences tire of big budget spectacle, Hollywood designs its blockbuster product for the ever-expanding Chinese market
film  movies  globalisation  China  TheNewInquiry  2014 
august 2014 by inspiral
A Brief Look at Texting and the Internet in Film on Vimeo
Is there a better way of showing a text message in a film? How about the internet? Even though we’re well into the digital age, film is still ineffective at depicting the world we live in. Maybe the solution lies not in content, but in form.
film  movies  SMS  mobilemessaging  internet  TonyZhou  2014 
august 2014 by inspiral
Quotacle - search and instantly watch any movie quote
It’s early days for this site, which lets you search for classic movie quotes along with the relevant video clip. But we’re hoping it quickly expands beyond its current catalog of 143 movies — and that Hollywood doesn’t get antsy and try to shut it down.
film  movies  quotes  utility  Quotacle 
august 2014 by inspiral
The Best Documentaries of All Time | Sight & Sound | BFI
What are the greatest documentaries ever made? We polled 340 critics, programmers and filmmakers in the search for authoritative answers. Nick James introduces our poll while, below, we list the critics’ top 56 documentaries.
documentary  leaguetable  movies  film  Sight&Sound  BFI  2014 
august 2014 by inspiral
The Quietus | Film | Film Features | A Bigger Bloat: The Hollywood Blockbuster Taken To Task
Confronted by widespread piracy, the terminal decline of physical media sales and attendant rise of streaming options, ever more sophisticated home entertainment systems and a booming era of television, the appeal of supersized blockbusters for film studios is obvious. Keen to discourage the growing allure of home viewing, studios focus their efforts on producing films best experienced in a cinema, ideally by purchasing a more expensive 3D or IMAX cinema ticket. This means that the major film studios are making fewer films and the ones they are making are aimed at as broad of an audience as possible. The problem with this strategy is that as the studios spend hundreds of millions of dollars making and marketing a handful of films, the risk increases exponentially: Disney’s underwhelming John Carter had a budget so gigantic that it had to become one of the highest grossing films of all time in order to make its money back. When a film has to earn over a billion dollars to avoid being considered a flop then something in the industry has gone wrong. This level of risk incites predictable caution, leading to the exclusion of original screenplays in favour of a near-talismanic dependence on pre-existing properties with any semblance of audience recognition, from sequels to reboots to the adaptations of board games.
film  movies  CGI  critique  TheQuietus  2014 
august 2014 by inspiral
Part III: The Future of Independent Filmmaking
In many ways, indie filmmaking may appear to be healthier than ever: 2013 saw more releases than at any point in the segment’s history and these releases came from a near record number of active studios. Despite this, indie attendance continues to decline. As a result, indie studios have experienced a staggering drop in average revenue per picture and shockingly high failure rates. Until studio heads and investors come to terms with the economic reality of indie filmmaking, these pressures are unlikely to subside. The problem, after all, is not talent – be it creative, production, marketing or acting – but demand.
film  movies  cinema  indie  pricing  videoondemand  distribution  opportunity  strategy  MediaRedef  2014 
july 2014 by inspiral
Part II: How The Major Studios Can Drive Domestic Growth
In our last piece, we confronted the fact that the US film industry has stagnated: underlying demand continues to fall, with (nominal) revenue growth held-up only by a mix of population growth and pricing increases. In this piece, we put forward five ways the Majors can drive growth – and discuss one logical, but ultimately ineffective option.
film  movies  cinema  strategy  growth  releasecycle  videoondemand  premiumvideoondemand  streamingmedia  pricing  bundling  indie  acquisition  USA  MediaRedef  2014 
july 2014 by inspiral
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