Previously…

Of course, a film ending on a cliffhanger is nothing new. In the early days of cinemas, serials would play before the feature presentation, with the hero in a seemingly impossible situation, to be resolved in the next instalment. The practice is very common in television. The obvious reason for this is it encourages an audience to come back for the next instalment, in order to find out what happens.

One of the main reasons to split a film is because of runtime. There has been some talk in recent years around films being too long, with the likes of Avengers: Endgame, Oppenheimer and Avatar: The Way of Water all running over three hours. Older films, like Lawrence of Arabia or Seven Samurai, featured an intermission, allowing an audience chance to stretch their legs, use the bathroom, and think about the film. Quentin Tarantino chose to release Kill Bill into two parts, rather than cut “some of the best scenes”. The film was written and produced as one film, only being split during the edit. Sam Raimi wanted to do something similar with Spider-Man 3, but could not find the right point to split the film.

Of course, some films go into production, knowing it’s only part of the story. Back To The Future, Pirates Of The Caribbean: The Curse of The Black Pearl and The Matrix had sequels greenlighted after the original instalment was a success. Parts two and three were filmed back to back. Filming in this manner allows the production to save money, work around actors’ busy schedules and avoid things like characters ageing between instalments.

Next Time…

Harry Potter and the Deathly Hallows started a trend of two-part finales. Warner Brothers were concerned about a long runtime, and the filmmakers did not want to miss key scenes from the books. The decision was made before production began, and it was treated as one film. Interestingly, the fifth film The Order of the Phoenix, is the second shortest film, despite being the longest book. The decision to split the final book in two worked, as both parts were well received, and the final entry was the highest-grossing of the franchise.

Many other franchises saw this success, with it becoming common practice to split the concluding chapter into two. The Hunger Games: Mockingjay, Twilight Breaking Dawn two other big YA franchises followed suit. It was also attempted with the Divergent series, but the poor box office cancelled the fourth entry.

One of the biggest two-parters in recent years is the two-part “finale” of the Marvel Cinematic Universe. Originally announced as Avengers: Infinity War Part One and Two. The two films were shot back to back but were very much envisioned as two films. Likewise, the It films adapted two different parts of the book, but the second film was dependent on the first’s success, as with Dune. These films all have a lengthy runtime on their own, so splitting them seems natural (because intermissions are less popular now).

Ultimately, part one of a story seems unavoidable sometimes. Many of these films likely could be cut down, but some moments that turn out to be favourites would have to be cut, and that can make later moments not hit as hard. As we’ve seen countless times, trying to cram a whole book, especially into two hours is incredibly difficult, so Dune: Part Two makes a lot of sense. It doesn’t seem likely they’ll be going away anytime soon either, at least not unless the interval comes back.

Also Read: Don’t Make That: Films That Don’t Need A Sequel/Reboot

The post From Harry Potter to Dune: The Rise of Two-Part Movie Epics appeared first on Big Picture Film Club.

Today we will briefly look at the key live-action films that pushed CGI integration forward. Then we will look at how these effects are incorporated into films. Before finally discussing what the rise of CGI has meant for the industry and audiences.

A Brief History

While films using CG images date back quite far (Vertigo’s opening (1958), A Computer Animated Hand (1972), etc.), 1973’s Westworld was the first live-action feature to use CGI within the narrative.

Live-action films made further strides in CGI incorporation throughout the 20th century. Star Wars (1977) featured wireframe computer animation. Tron (1982) put real actors into a CG world for the first time. Young Sherlock Holmes (1985) is widely considered to be the first live-action film to feature a computer-generated character. The Abyss (1989) and Terminator 2: Judgement Day (1991) helped to perfect CG liquid textures. And Jurassic Park (1993) blended CGI with practical effects to create realistically textured, moving dinosaurs.

The 2000s, thanks to widening software availability and increasing computer speeds, saw films using much more CGI. Several CGI-intensive franchises like Harry Potter and Lord of the Rings (which revolutionised motion capture) debuted. Smaller projects, like District 9 (2009), also used it to realise its alien people and technology. But Avatar (2009) redefined what CGI was capable of. Featuring a vast computer-generated world that blended real actors and effects seamlessly it became the highest-grossing film of all time. Paving the way for other huge effects blockbusters like the MCU.

How CGI Becomes Part Of A Film?

With CGI’s capabilities making huge strides, how do film productions go about integrating the effects? CG elements are mostly created separately alongside filming and are combined with the filmed elements during post-production. Green screens, chroma key suits, motion capture suits, placeholders etc. provide guidelines during production for effects artists and actors as to where the CG elements will go. However, CGI is not just separate work utilised in post-production.

CG pre-visualisation has started to gain prominence. This is where CGI is used to visualise part of a movie prior to production. It gives camera operators, directors etc. an idea of what the film will look like. Allowing them to plan and experiment with how something will be shot.

Advancements now also allow CGI to be visible and filmable during film production. For example, LED Volume and the Unreal Engine have been used to create and visualise realistic CG background elements which can be filmed and edited during planning and production. This technology, which displays CG environments through vast background screens, was recently used during the filming of the short Fireworks and The Mandalorian season 3. Although the technology has some workload and implementation issues this advancement allows workers to create intricate, detailed CG backgrounds. While actors are given more definitive visual aids to perform against. Helping make the drama more believable to audiences.

How CGI Has Changed The Industry?

CGI has completely transformed the movie experience. It has allowed audiences to see incredible creations and has been the basis for many beloved movies. However, with some recent films having a majority of their shots containing visual effects like CGI and many recent articles addressing how bad CGI can negatively affect audience experience, CGI advancement clearly does not automatically produce good art.

CGI is a tool and many factors influence its effectiveness. If VFX artists are not given enough time to complete their work the quality suffers. The oversaturation of effects-heavy blockbusters has also accustomed audiences to a certain level of quality, making subpar CG more noticeable. And if films fail to ground their effects or engage viewers narratively or emotionally the effects can lose their impact. 

These represent the main issues for CGI moving forward. If the industry wants to maintain audience interest in an age of CG oversaturation it must consider these points and not just focus on advancement for its own sake. As George Lucas said, a special effect without a story is a pretty boring thing.

Also Read: A.I Generated Art & Movies: A Collision Course

The post The Evolution of CGI In Movies appeared first on Big Picture Film Club.

1. Less Than Shining

Incredibly, upon release, The Shining received quite mixed critical attention. It even got multiple Razzie nominations. So Opinionated Strangers’ sentiment is not unshared. Although since The Shining is now considered a classic, many may view this opinion to be as deranged as Jack Torrance.

2. The Boy Who Bored You Senseless

Harry Potter is one of the biggest film franchises ever and a special part of many childhoods, J.K. Rowling’s horrific transphobia aside. But not everyone could fall under the series’ spell. Jodie’s post proves that.

3. Mars Attacks vs Arrival

Arrival was loved for the interesting way it dealt with the Alien visitation concept. It dealt with language barriers, perceptions of time, and human nature. Nevertheless, according to Vin Hlz Mars Attacks, a critical disappointment, is much better at what it does than Arrival. Sometimes you just want a good old-fashioned alien invasion movie.

4. Oliver Stone’s Unsung Masterpiece?

How can you definitively state Oliver Stone’s best movie when Platoon, Born on the Fourth of July, JFK, and Natural Born Killers are in his filmography? Well, Eric Rowe believes his best movie is actually the underseen Nixon. It’s always nice to see love for an underappreciated film.

5. An Offer Refused

As Family Guy showed, not loving The Godfather is a hard position to hold. And to not like other highly-rated gangster films like both Scarface movies and Casino as well? If nothing else one must admire FKA “Bulletproof Heart” Leo London for being honest. That’s the kind of talk that can leave someone sleeping with the fishes.

6. An Impossibly Underrated Sequel

One mission that mostly proved impossible for the Mission: Impossible series was getting people to praise Mission: Impossible 2. Unanimously considered the series’ low point. Thankfully this goal was finally accomplished thanks to Hasta Lavista Baby.

7. Dragon Wars

There have been several occasions when two movies with strikingly similar themes or plot elements have been released close together. Think Armageddon and Deep Impact. And in this battle, it would be easy to write off Wish Dragon given how high-profile Disney’s dragon animation Raya and the Last Dragon was. But sometimes underdogs can strike a chord with fans. As Wish Dragon did with TheCinematicBandicoot.

8. Defence of the Dead

It’s fair to say from the lacklustre reactions that many general moviegoers were probably expecting something different from what The Dead Don’t Die delivered. But to those familiar with Jim Jarmusch’s work, like Eden Limchawalit-Smith, it provided a unique entry into the zombie subgenre.

9. Not So Quiet on the Sequel Front

Both Quiet Place movies garnered a huge amount of praise from audiences and reviewers. That said ScareCandy Podcast thinks that the second film was much less effective because it felt like a repeat of Part 1. And no matter how good something is repeating the same thing is likely to wear patience thin quickly.

10. Calm Down Raging Bull

Last time we discussed how one Twitter user saw Martin Scorsese as a lesser filmmaker than Brian De Palma. Now we find user Reuben throwing shade at Raging Bull, widely considered one of Scorsese’s best works and the film which earned him his first Oscar nomination for directing. What a left hook sting.

Do you agree or disagree with these hot takes? And what unpopular film opinions do you hold?

Also Read: #FilmTwitter Gives Their #UnpopularOpinion On Movies – Do You Agree?

The post Even More #UnpopularOpinions From #FilmTwitter appeared first on Big Picture Film Club.

The Department for Digital, Culture Media and Sport recently conducted a study on how British Media is received and how it impacts the perception of Britain in other countries. The key findings of the report are interesting, and good news for British Film and TV.

Influencing Tourisim

One of the findings from the report is that around two-thirds of tourists to the UK are influenced by British media. With a little under 40 million people visiting the UK each year, that’s an impressive amount that come to visit places featured in films and TV. Places like Highclere Castle, the setting for Downtown Abbey and Alnwick Castle, featured in the first two Harry Potter films as part of Hogwarts grounds were popular heritage sites, but have seen increased visitors since their respective film appearances. Harry Potter especially has lots of iconic locations featured throughout the UK across the films. Not to mention the appeal of the studio tour.

High Quality

According to the study, 70% of international audiences regard British film and TV as “high-quality”. While the definition of “quality television” is difficult to pin down, many British shows appear on IMDb’s list of the highest-rated TV shows of all time. The shows listed include dramas like Sherlock, It’s A Sin and Peaky Blinders, documentaries like Planet Earth and sitcoms like Only Fools and Horses and Fleabag. Likewise for films, including the likes of Trainspotting, Snatch 1917, as well as the Harry Potter and James Bond films. No Time To Die, the latest Bond film, became the fourth highest-grossing film of 2021, as well as being nominated for several Oscars.

Investing In Co-Productions

As a result of the findings, £1.32 Million from the UK Global Screen fund will be shared between nine co-productions, in an effort to help increase their range abroad. The nine productions benefitting from the UK Global Screen Fund awards include The Miracle Club, a UK/Ireland official co-production, The Tutor, a UK/Germany official co-production, and Ghastly Ghoul, a UK/Ireland TV animation. The Father a UK/French production was a contender at the 2021 Oscars, with six nominations in total. It won in two categories, Best Adapted Screenplay, and Best Actor for Anthony Hopkins.

New Branding

Screen UK, a new brand to showcase and celebrate UK talent which will launch as a digital campaign, rolling out internationally over the coming months. Aiming to highlight high-quality UK film, television and video games under a single brand banner, it will help distinguish and promote British content to international audiences. As the campaign has not started yet, there is very little information on what it will entail.

Also Read: What Does Making “Distinctly British” TV Mean?

The post New Research Shows 70% of International Audiences View British film and TV As High-Quality appeared first on Big Picture Film Club.

Our panel discussion brings together friends, family and contributors of Knox: The Rob Knox Story to discuss Rob Knox’s legacy and the effects of knife crime. We’d like to thank our panellists Aaron Truss, Colin Knox, Joe Acres & Ray Winstone. Filmed as part of the 2021 London Independent Film Festival.

Also Read: 5 Thought-Provoking Documentaries on BirdBox

The post (K)Nox: The Rob Knox Story – Panel Discussion – LIFF 2021 appeared first on Big Picture Film Club.

Why now?

My wife and I recently watched several of the Harry Potter films on TV. She’s a huge fan and I’ve come to enjoy them a lot, minus the obsession. And after taking in several chapters of the magical series that’s delighted children and adults for years now, I came to the conclusion that Harry Potter has an underwhelming central antagonist, while another lesser villain in the series is actually much more effective. So let’s start there, shall we?

Lord Voldemort – lost a bit of magic in the end

Ralph Fiennes’s Dark Lord was built up progressively for three movies before finally making his appearance proper in Harry Potter and the Goblet of Fire, in which he was suitably snake-like and pretty much how we expected him to be. And we could forgive him for allowing Harry to slip through his fingers so early after his return to embodiment…right? Put it down to jetlag, or some equivalent.

However, by the time the last chapter of the saga rolls around and Voldemort is finally undone for the last time by Harry and friends, I was left with a sense of disappointment, more than anything. This was a villain whose name people were too afraid to even speak, who in the end was bested at every turn by a teenager (albeit the Chosen One) without ever appearing to be in control at any point. Some fans of the series are also particularly scathing of the final few minutes of The Deathly Hallows Part Two, which differs considerably from the far-superior novel and seems to render much of what went before null and void (and nobody even witnesses Harry defeating old no-nose, either!).

I couldn’t help but compare Voldemort with other great movie villains while watching the two-part finale of the film series. Play out the Death Eaters’ attack on Hogwarts alongside, for instance, the Empire’s assault on Hoth in The Empire Strikes Back; compare Vader with Voldemort, two Dark Lords who strike fear into the hearts of the respective universes they inhabit; decide which of the two is ultimately more menacing and effective as a cinematic villain, and who is finally beaten more easily, and by which character.

In the end, Lord Voldemort was the equivalent of a piranha popping out of the sea at the climax of the famous Jaws score – we expected a ferocious and unstoppable Great White shark, and instead we got an ugly little fish with a bad reputation who gets reeled in by a boy. 

Dolores Umbridge – had us under her spell

In sharp contrast, the greatest villain in the entire Harry Potter series (in MY opinion, don’t forget) was one who was quickly brushed under the rug after the fifth film, and only appeared again in little more than a cameo role towards the end – Dolores Umbridge.

Where Ralph Fiennes was a bit creepy as He-Who-Shall-Not-Be-Named, Imelda Staunton was excruciating as Umbridge. Reading about Harry’s interactions with her character in The Order of the Phoenix will leave you wanting to rip pages from the book and throw them straight in the fire. She’s the personification of every young person’s worst teacher, multiplied by several hundred degrees and surrounded by an impenetrable force field of pink fluff and kittens. What’s more, she consistently gets away with her villainous actions unopposed for large portions of the film, and even makes an unwelcome return in The Deathly Hallows Part One, just when you thought she was finally gone. And she’s the only character in the series other than Voldemort who actually leaves a scar on Harry.

For me, Umbridge was the one who left a bad taste in my mouth, which is exactly what a good villain should do. Unlike other antihero-type antagonists who you kinda root for (more on them soon enough), there is simply nothing about Umbridge that’s redeemable. Even moreso, I would venture, than Voldemort himself.

The bottom line

Maybe you’ve got to this point and heartily disagree with my conclusion, and that’s ok – it’s just food for thought, and movies are meant to be discussed, after all. I really like the Harry Potter series, so most of my frustration stems from disappointment rather than just plain old criticism. I simply wanted Voldemort to be worthy of his reputation, and in the end, he fell short.

Next time, we’ll turn our attention to James Bond and the bad guys who weren’t nearly as bad as we’d hoped they’d be (and those who were more so!).

The post The Movie Villains Who Nailed It (And Those Who Didn’t) – Part One [Harry Potter] appeared first on Big Picture Film Club.