Science Proves Definitively That Modern Movies Suck

Belgian riot police are covered with foam sprayed by Belgian firefighters during a protest for better work conditions in central Brussels October 7, 2013.    REUTERS/Yves Herman (BELGIUM - Tags: BUSINESS EMPLOYMENT CIVIL UNREST POLITICS TPX IMAGES OF THE DAY)

commentEndDate:10/26/13 5:16 EDT! currentDate:10/12/13 8:0 EDT! allowComments:true! displayComments:true! South Korean, Mongolian movies win awards for emerging talents as Busan film festival closes By Associated Press, SEOUL, South Korea Movies from South Korea and Mongolia have won $30,000 New Currents Awards for emerging filmmakers at Asias largest film festival. Busan International Film Festival organizers said Saturday that the festivals biggest prizes went to Pascha by South Korean director Ahn Seonkyoung and Remote Control by Mongolias Sakhya Byamba. Its the first time a Mongolian movie entered and won the competition in the festivals 18 years. Looking for things to do? Select one or more criteria to search Kid-friendly Get ideas The awards, given to first- or second-time Asian directors, show the festivals efforts to discover and support the regions new talents. The organizers said Pascha, an unusual love story between a 40-year-old woman and a 19-year-old man, won the jurys heart with its highly original expression. They said Remote Control neatly portrayed tensions between reality and fiction. The jury, led by Iranian director Rakhshan Bani-Etemad, picked Transit, Hannah Espias drama about Filipino migrant workers in Israel, as a special mention. The 10-day festival that ended Saturday drew more than 200,000 visitors for the second straight year, even as a rare October typhoon forced the organizers to reschedule some events and close outdoor booths by corporate sponsors four days before the festival drew to a close. The fair closed Saturday evening with The Dinner, South Korean director Kim Dong-hyuns independent feature. The festival, which opened Oct.

Twelve Angry Men: A REAL movie.

“I would have liked to meet him. I don’t know whether he’d want to, though. And if it did happen, I hope it would be a very private event between two men who have been very oddly drawn together in this strange way.” When The Fifth Estate project was announced – adapted from the books Inside WikiLeaks: My Time with Julian Assange and the World’s Most Dangerous Website by Daniel Domscheit-Berg and WikiLeaks: Inside Julian Assange’s War on Secrecy by British journalists David Leigh and Luke Harding – Assange contacted Cumberbatch and pleaded for him to beg off. Neither book portrays Assange in the most flattering light, and the Australian-born hacker-turned-journo-trailblazer was not thrilled. More coverage A season of Cumberbatch starts with ‘Fifth Estate’ “It’s no secret that we’ve communicated,” Cumberbatch says. “We exchanged e-mails at the beginning of the job. Not many. Basically him saying, ‘Please don’t do this film,’ and me saying, ‘This is why I feel it’s actually not a bad thing, and I do want to do this film.’ And that’s where that was left. “I have a real care for him and his real-life situation, because it is very precarious. But this is a film, it’s not a documentary, it’s not a piece of legal evidence. It’s a dramatization of a certain account of events.

‘Captain Phillips’ and other new movies, reviewed

Oh well, theres always videom games. If youd like evaluate these findings for yourself, though, the methodology is actually pretty interesting. The researchers used the 2 million-film database from IMDB to generate a creativity score between one and zero for each. By plotting the creativity score over time, we can see a direct relationship between time and creativity. This all-important score comes based on the language used by IMDB users. A term, for instance anti-hero, would be considered novel around the time of its introduction since it wouldnt exist beforehand; the spike in frequency of use corresponds to the introduction of the concept, and thus to creative film making. The same term used on a movie five years later would receive a lower creativity score for that term, since it was established and thus less creative. Twelve Angry Men: A REAL movie. The obvious problem with this measure is that it doesnt measure movies at all, but rather how we talk about movies . All the comments used in the study were left in the past decade or less, even movies that came out in the 40s and 50s; with the benefit of hindsight we can look back and identify the trends produced by old movies, since weve had so long to digest and discuss its long term impacts. A more modern movie could be just as influential, but if we havent gotten a chance to see that well be less likely to use the corresponding language. Additionally, what we see in the oldest movies is not so much innovation within film but the invention of modern film in the first place. Its a bit unfair the compare a movie from the 50s to one from today in terms of tradition-breaking; in the 50s, there was simply far more unexplored space to mine, and far more entrenched traditions to eschew. That said, the model does find periods of low creativity within thevenerated history of film, such as during the Golden Age of Hollywood which ran from roughly 1930-1950.

On Movies: Cumberbatch plays Assange – over Assange’s protests

Director Bill Condon (left) with Benedict Cumberbatch on the set of "The Fifth Estate."

All Rights Reserved. Photo by Hopper Stone Captain Phillips (PG-13) ‘Captain Phillips,’ a taut, finely crafted, superbly acted maritime thriller, is just one of a wave of fabulous films heading our way. Its autumn, my friends, a time of falling leaves and soaring cinematic standards. Hallelujah, and pass the buttered popcorn. Ann Hornaday The Summit (R) Because The Summit jumps around in time and because the events on the mountain happened over two days and at locations often far apart, the already garbled chronology of deaths is made even more confusing. Michael OSullivan When Comedy Went to School (Unrated) At first, the movie sets out to prove that the mountain resort was the seminal location for mid-century Jewish comedians to get their start. But after so many detours into other terrain, the movie feels muddled and unwieldy. Stephanie Merry The Inevitable Defeat of Mister and Pete (R) Wright and Mackie have small parts, playing a homeless veteran and a pimp, respectively. Like all the other grown-up actors, their work is fine and tightly focused. But its Brooks and Dizon that youre not likely to forget. They may be tiny little kids, but they deliver outsize performances. Michael OSullivan Escape from Tomorrow (Unrated) As a social critique, ‘Escape From Tomorrow’ is weak. At times, the filmmaker seems to suggest that Disneys mechanistic manipulation of the imagination after all, its park designers are called imagineers is stifling original thought. Michael OSullivan Machete Kills (R) Bad acting, narrative illogic, inattention to character development and storytelling so choppy that the film seems to have been edited with a, well, machete are what you expect from a movie like this, which originated as a fake trailer incorporated into the 2007 film Grindhouse. Michael OSullivan Romeo and Juliet (PG-13) ‘Wherefore art thou Romeo?’ remains, as do the plays other most famous lines, but screenwriter Julian Fellowes, the creator of ‘Downton Abbey,’ has dumbed down much of the remaining dialogue. Does that mean it will appeal to a broader audience? Its possible cursing ‘zounds’ is so 1597, after all but replacing existing text with old adages about the road to hell being paved with good intentions or striking while the iron is hot comes across as lazy. Stephanie Merry A.C.O.D. (R) The cast is uniformly strong, with standout performances from Lynch, OHara, Jenkins, Poehler and Howard. Jessica Alba also makes a nice, if brief, appearance as a fellow child of divorce with whom Carter almost cheats on Lauren. And Winstead brings surprising depth to a small role, in which she has little to do except wait for her boyfriend to grow up, or to at least let go of his cynicism about love. Michael OSullivan We Are What We Are (R) The films rendering of emotion is sensitive, and the acting uniformly fine, with an unrecognizable cameo by Kelly McGillis as the Parkers nosy, doomed neighbor. None of the story threads generate much mystery, however, and only the kind of suspense that comes from waiting for the inevitable, crudely foreshadowed climax. Michael OSullivan The Post Most:Entertainment