Final Blog Post: Ratings

In chronological order, not order of preference:
1. Sherlock Jr. - 8/10 - Great example of innocent comedy of the silent film era
2. Freaks - 6/10 - Not the usual horror film, brings up societal differences, unamused by the characters
3. Detour - 7/10 - Film noir drama filled with some great camera work
4. Awara - 6/10 - Bollywood musical, not my cup of tea.
5. The Good, The Bad and the Ugly - 6/10 - Classic spaghetti western filled with action, got bored with the characters
6. Killer of Sheep - 4/10 - Odd documentary style narrative over African American culture, lost my interest halfway through, unimpressed by the camera work
7. The Vanishing - 7/10 - Charming love story with a twist that makes viewers question their morals, really interesting narrative
8. My Own Private Idaho - 6/10 - Interesting story about self-objectification and homosexuals
9. O Brother, Where Art Thou? - 8/10 - Current era rendition of Homer's Odyssey, with some comedy and great music
10. Wendy & Lucy - 6/10 - A woman is pressed to make difficult decisions
11. Moonrise Kingdom - 9/10 - Cute love story about two awkward kids who run away from home, really great exhibit of Wes Anderson's cinematic genius
12. End of Watch - 7/10 - Documentary style film using first person camera shots displaying the police-in-action genre in a new light, with a terrible ending

End of Watch

In this scene we see the criminal's vehicle through the point of view of the cruiser's on-board camera. This is a very unique view as it places the viewer directly in the action. The hood of the police car takes up the bottom of the screen with the arbitrary labels superimposed at the top of the screen. The van is scene in medium-close range and there are no other subjects in the field of view.

 Right after the shot above, a man gets out of the vehicle and runs inside this apartment complex, there is a short chase scene through the stairwells and hallways. Then there is a cut to this scene of the Mexican gang members prepared for an ambush in a courtyard of the apartment complex. This is another point of view shot that shows a lot of depth and also gives the viewer foreshadowing that this is no ordinary chase.

Next is a cut back to the officers chasing the perpetrator through the hallways to an opening showing multiple levels and open spaces. Again, this is a point of view shot of the officers chasing behind the man driving the vehicle.

Lastly is a cut to a tracking shot of the two officers running across the courtyard while being shot at from above. The different style of shot (tracking rather than PoV) helps show the transition of the tone of the film. This is a turning point in the movie as it truly leaves the officers in immediate danger. They have gotten lucky on multiple jobs where they haven't been in too much danger, but now they have been ambushed and are in serious danger.

"Moonrise Kingdom" directed by my new favorite director, Wes Anderson

The scene above is the second to last one the viewer sees before the ending credits. It is an all-encompassing scene that fits right into my personal preference. It brings the story full circle and includes elements from the entire film.

In the forefront is Sam's painting of Mile 3.25 Tidal Inlet, where Suzy and him made camp after fleeing their families and the Khaki Scouts. This is where their connection was finalized and the viewer was completely aware of their love and devotion to each other. On the left of the painting in the middle-ground are Suzy's belongings that they had to trek everywhere with them; the suitcase full of books, picnic basket with the cat inside, and the other basket that she brought along. The painting on the right wall in the middle-ground is a painting of a schooner tackling white caps. This could be a reference to the legendary storm that dominated the ending of the film. On the broad scale, the room is very symmetrical and the Sam's painting is exactly centered, a trait of Anderson that is very easily recognizable in all of his films. This technique is very unique and is one of those "love it or hate it" elements in cinematography.