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Why Do Special Effects Seem Less Special Lately?

Why Do Special Effects Seem Less Special Lately? (photo)

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Den of Geek publsihed a piece Tuesday entitled “The Numbing Ubiquity of Computer Graphics.” Its thesis is one that I’ve personally held for a while: that the better and more widespread computer generated effects get the less interesting they become. As Ryan Lambie writes:

“Twenty or 30 years ago, even the tiniest glimpse of a computer-generated effect had an almost magical air of futuristic novelty about it… And yet, since the advent of a holy trinity of groundbreaking movies in the 90s, namely, ‘Terminator 2,’ ‘Jurassic Park’ and ‘The Matrix,’ it has become increasingly difficult to get particularly worked up about special effects of any kind. Audiences may have cooed and gasped over the imagery of ‘Avatar’ and ‘Inception,’ but we’ve now become so numbed by such visual flights of fancy, whether they’re in films or adverts, that they appear to be set to a side almost as quickly as we’ve seen them.”

In other words, the story of special effects in movies is the story of Christopher Nolan’s “Batman”: escalation. Advancements in technology can reap huge benefits for filmmakers and for studios, but as we see in “The Dark Knight,” escalation always comes at a price. The shelf life for an effect’s impact keeps growing shorter and shorter and even as filmmakers face competition from others trying to outdo them, they always need to be prepared to outdo themselves as well.

This pressure exposes one of the biggest flaws in modern Hollywood’s filmmaking model, which is built around a steady supply of franchises and sequels. But escalation doesn’t sit well with sequels, since sequels are, by their nature, more of the same, and more of the same in the realm of special effects is simply not good enough. So while directors of sequels need to satiate returning audience’s desire to re-experience what they loved about a first film, they also need to show them something they’ve never seen before. Accomplishing both simultaneously is nearly impossible. If they don’t do the former they’re told they forgot what made the first film great and if they fail at the latter, they’re told they made something too much like the first film. It’s a lose-lose scenario.

Take, for example, this year’s “Iron Man 2.” The first “Iron Man” was a surprise hit for two reasons in my opinion: 1)Robert Downey Jr. at his charismatic best and 2)Iron Man looked cool. Both of these reasons carried with them an element of surprise: after years of problems with the law, many people had forgotten Downey’s charms, and the character of Iron Man was one a lot of people were unfamiliar with, and director Jon Favreau made meeting him a fun, visually stimulating experience. But a lot of the first “Iron Man” is simply the pleasure of Downey goofing off in his lab with the armor, and impressing us with the effects’ ability to convince that he can fly. For the second film, Favreau had to top himself. And talk about escalation: “Iron Man 2” had more armored heroes, more armored villains, more non-armored heroes, and more supporting characters. What worked so well in the first film was basically untenable in a sequel (and will be even harder to recreate a third time, perhaps part of the reason Favreau just decided not to direct “Iron Man 3.”

Lambie does see an upside and that’s the availability of previously prohibitively expensive equipment and software to independent filmmakers:

“The fact that it’s now comparatively cheap to create CG effects means that new filmmakers can let their imaginations run riot on a tiny budget. For evidence, look no further than Gareth Edwards’ ‘Monsters,’ a film created with little more than two professional actors, one Sony camera and a copy of 3DSMax. As Edwards put it in a recent interview, ‘You can go into a shop now and buy a laptop that’s faster than the computers they used to make ‘Jurassic Park.””

He has a point, but this can be a double-edged sword for filmmakers too. As I wrote last week “Monsters” is a remarkable technical achievement, but as Lambie points out, there are two new remarkable technical achievements in multiplexes every Friday. That’s not enough anymore. Lambie hopes that CGI’s decreasing emotional returns will force directors to reinvest themselves in storytelling. It’s a nice thought, but it feels like a pipe dream. We’ve already seen how lowering the bar to entry is encouraging more and more people to make their own films, and more and more special effects artists like Edwards and The Brothers Strause from “Skyline” are taking the reigns of their own productions. Democratization can be thrilling and maddening: more good voices, and more bad ones too.

The future I hope to see is one populated by filmmakers like David Fincher, who can use CGI as shock and awe (see the opening sequence of “Fight Club”) or as spy tactic (see the taxi cab sequence in “Zodiac,” or rather try to see it because the effects are so perfect you have no idea you’re looking at a soundstage instead of a street corner). To my mind Fincher’s current work is the best example we currently have for Lambie’s vision: a director who uses computer images as just another tool in his toolbox, no more or less important than composition, framing, mise-en-scène, costumes, or lighting. When a director like Fincher integrates digital magic into his films, he does so so seamlessly we stop looking for the seams at all and return our focus where it belongs: back to the film itself. The effect of that process can be quite special in its own right.

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Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

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“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar

via GIPHY

IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

Sport Court gavel

IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”


Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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GIFS via Giphy

On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”


But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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