Movie Bar Code is based on a simple but amazing concept - take every frame in a movie and compress it into a line. Then put them next to each other and you get a barcode of the movie. Movie Bar Code is brilliant because it gives an interesting perspective into the color palette used by different movies.
Terminator 2: Judgement Day (Beautiful and well balanced contrast between blue and orange)
The Lion King (All of Disney’s animated films use an amazing rainbow of color)
Star Wars Original Trilogy (notice the shift from light to dark, and the blue Hoth segment)
It never occurred to me to browse through the credits of Ridley Scott’s 1979 film Alien, to find out who was underneath the monstrous black mask.
The man was Bolanji Badejo, a 7ft tall Nigerian design student picked up from a bar in West London to fill the title role. He worked on the film for 4 months. Spending every day wrapped in a suffocating custom fitted rubber suit, working to exude a presence of pure evil.
Despite his incredible contribution to the film’s success Badejo never received any publicity for his involvement. Ultimately, it would be his only film role.
Over the past month I have been working to compile a list of every movie I have ever seen. At this point I have checked off around 1,130 different feature length films. This means that I have spent roughly 1,900 hours or 78 days of my life watching movies. The majority of this progress has been made since 2007 when I began actively downloading and streaming digital content. I have watched close to 100 movies a year since this point, about half of which is newly released content.
My fifty new movies a year habit seems pretty well established. I would predict that, with a movie industry stuck in its cyclical ways, that I should expect to watch another 4,000 new releases during the rest of my life.
Steve McQueen’s “Shame” is an dive into the never ending depths of sadness and destruction. The film provides an explicit account of a troubled sex addict, played with a hollow, numbing ferocity by Michael Fassbender.
Despite the wrenching world created on screen, McQueen’s unapologetic foray into the dark crevasses of human nature is a terrific movie. It is not uplifting, enjoyable or redemptive, all conditions that many people would expect from a superlative cinematic experience. What it manages to be, however, is almost staggeringly human, and unapologetically so.
Shame makes into a lie the universal assumption in movies that orgasms provide a pleasure to be pursued. The film’s opening shot shows Brandon awake in the morning, staring immobile into space. He could be a man prepared to commit suicide. He gets out of bed, goes into the shower and masturbates. It will be the first of his many orgasms, solitary and with company, that day. He never reveals emotion. He lives like a man compelled to follow an inevitable course.
He is cold to people. To prostitutes, to co-workers, to strangers. His shame is masked in privacy.
Brandon lives in a cold, forlorn Manhattan. When he is in a group, he is alone. The sidewalks seem unusually empty. He loves no one, is attracted to no one, is driven to find occasions for orgasm — whether alone or in company hardly seems to matter.
Shame is a memorably caustic film steeped in melancholy. It’s humanity at a low point, but when it comes to the art of film, it is an experience that resonates at the highest level.
1. Drive - Ground breaking work, an aggressive and stylized thriller (Nicolas Winding Refn, Ryan Gosling)
2. I Saw the Devil - Stunningly accomplished tale of murder and violence (KIM Jee-woon, Kyung-chul)
3. The Muppets - Best comedy of the year (James Bobin, Muppets)
4. Rango - Refreshing un-pixar entry in the world of animated entertainment (Gore Verbinski, Johnny Depp)
5. Into the Abyss - Insightful look at a very interesting subject (Werner Herzog, Jason Burkett)
6. Winnie the Pooh - People who won’t like this movie: the walking dead (Stephen J. Anderson , Don Hall)
7. Source Code - Plays like a focused version of “Inception” (Duncan Jones, Jake Gyllenhaal)
8. A Dangerous Method - Cronenbergian historical fiction (David Cronenberg, Kiera Knightley)
9. Midnight in Paris - An enjoyable escape into the world of classic literature (Woody Allen, Owen Wilson)
10. Ides of March - Long live the twisted American political system (George Clooney, Ryan Gosling)
**I may have to update this list as I finish watching the year’s late releases