Goodnight Oppy (2022)

Projections on the Wall-E I work in the broad area called AI. I also spent nearly a decade attached to the space station project (before it was international), and while my time was at Houston and with the engineering side, I know the kinds of folks shown here and their energies. This story is composed… Continue reading Goodnight Oppy (2022)

The Sea Beast (2022)

Competent Navigation I am seeing many complaints about the ‘wokeness’ of elements of this. I suppose that is just how America is put together now. Some large number of vocal folks will find lucid history not to their liking. For me, I find the modern reworking of tropes from Moby Dick and Treasure Island refreshing.… Continue reading The Sea Beast (2022)

King Richard (2021)

The Cosby Curse One of the effects of a rich society is the luxury of spending time watching sports, engaging with the intricacies of statistical pockets, and the supposed drama of its celebrities. Only film and its media feeders can similarly create such icons, so it is natural that the two overlap, with TeeVee as… Continue reading King Richard (2021)

Strange World (2022)

Ted’s Law Forget the story; despite the appealing message(s) this is not a decent way to spend time. But it does illustrate a principle I have noticed, which I believe applies universally in film projects and in most successful introspective AI projects. I modestly call this ‘Ted’s Law’. Here’s how it works in this case:… Continue reading Strange World (2022)

The Midnight Sky (2020)

Dersu Solaris Films about filmmaking and internal narrative will always get poor reception among the general public. Nolan is able to straddle the line by delivering worldly action; that’s why his effects have to be so practical. But in general, when you make a film with this type of introspective power, and you are not… Continue reading The Midnight Sky (2020)

Elvis (2022)

Whole Lotta Shakin’ Baz reinvigorated film. It was a simple concept, and advanced by others long before: having the camera in the chaos. My first experience with this was “Red Shoes”, which though novel in its time isn’t even notable today. What Moulin Rouge did was merge the noir concept — which makes the viewer… Continue reading Elvis (2022)

Luca (2021)

Post-Lassiter Engineering Pixar/Disney finally dumped John Lassiter over his profoundly offensive behaviour. As consumers, we still pay part of our ticket for his buyout, but get the benefit of the second story team, previously suppressed by his understanding of story mechanics. Some of these are great. I liked the risk in ‘Lightyear’. But the front… Continue reading Luca (2021)

Confess, Fletch (2022)

Padre For some reason, the noir detective — and the companion trope of sky — is easy to turn comedic. One of the tried and true techniques is the Nick Charles model of coolness, plus joke lines intended directly for the viewer not the on-screen companion. I cannot recall the earlier versions with Chase, and… Continue reading Confess, Fletch (2022)