Feelings. All of them. This new trailer for Ryan Coogler’s Black Panther is the best thing we’ll see all day – it really looks like Coogler and Marvel and knocked it out of the park. From the Afrofuturist aesthetic, the mind-boggling action and the empowering moments of camaraderie laced throughout, this is the whole package.

If you’re wondering about the amazing music, Vince Staples’ “Bagbak” spliced with Gil Scott-Heron’s ‘The Revolution Will Not Be Televised”.

Take all my money Marvel.

SG

The post The New ‘Black Panther’ Trailer Is Everything appeared first on CROMEYELLOW.COM.

And here it is! New Flesh has created a poster that calls back to their namesake by tackling David Cronenberg’s seminal Videodrome. To me, Videodrome is a still a one-of-a-kind film. It’s true terror on a primal level, blending body horror with social critique that the world is still frankly catching up with. The film has got tons of iconic imagery, and New Flesh has got that arena covered with a fun montage that captures a lot of it.

Hit up New Flesh right now for this awesome print.

Reg / 18″ x 24″ / 7 color screen print with 3 metallic inks / Signed and numbered / Edition of 50 / $25

Var / 18″ x 24″ / 3 color screen print with 3 metallic inks / Signed and numbered / Edition of 13 / $45

SG

The post Check Out This New ‘Videodrome’ Poster By New Flesh appeared first on CROMEYELLOW.COM.

Year: 2017
Director(s): Taika Waititi
Writer(s): Eric Pearson, Craig Kyle, Christopher Yost
Region of Origin: US
Aspect Ratio: 2.35:1, 1.90:1 (IMAX)
Rating: PG-13
Digital, Color, 130 mins

Synopsis: Thor must fight for survival and race against time to prevent the all-powerful Hela from destroying his home and the Asgardian civilization. (Source)

After two solo outings and two team ups, The Avengers’ resident God (of Thunder) has enjoyed a nice rise from obscure myth, to d-list superhero, to household name. Though most of us love Thor, it’s also a fact that he’s been consistently underserved. Thor’s solo films have struggled with identity, to say the least, and as a presence, he’s always unwittingly out-shined by his ensemble. With Thor: Ragnarok, director Taika Waititi changes the status quo, shattering Thor and his world to pieces in order to build him up bigger and better than ever. By uprooting Thor in such a brazen way, Waititi also gives Marvel an operatic space farce that’s as achingly funny as it is epic. Marvel’s aesthetic has never been deconstructed in such an irreverent way, and Thor comes out on top from such a bold reimagining. This is hands down one of the wackiest, most insane cosmic riots ever, brimming with inventive spectacle, mischievous humor and Waititi’s singular swagger. If, like me, you’ve been waiting for Thor’s moment to truly shine, then Ragnarok is a dream come true.

When we first meet up with Thor (Chris Hemsworth), he’s intentionally gotten himself captured by the fire god Surtur. Hoping to prevent Ragnarok (the prophesied destruction of his homeward Asgard), Thor makes quick work of his adversary, thinking that the threat’s been quelled. In doing so, he discovers that his brother, Loki (Tom Hiddleston), has impersonated their father, Odin (Anthony Hopkins), posing as Asgard’s king while leaving it vulnerable to unforeseen threats. After a quick jaunt to Earth, Thor and Loki find their exiled father, but learn that dark machinations have already been put in to play. They soon come face to face with Hela (Cate Blanchett), the goddess of death, who destroys Thor’s hammer while leaving him and Loki stranded on a mysterious planet named Skaar. Under the captivity of an eccentric egomaniac named The Grandmaster (Jeff Goldblum), Thor reunites with Hulk (Mark Ruffalo), befriends a shamed Asgardian named Valkyrie (Tessa Thompson) and attempts to win over his two-faced brother in order to save his home and its people from certain destruction.

Without question, Waititi’s singular sense of tone, character and humorous style are what make this new outing feel so fresh. Most noticeable, this latest film finally capitalizes on Hemsworth’s natural comedic timing, empowering Thor with a sense of humor that’s always been there, but never used in such a commanding way. With Thor and his personal awakening at the center, Waititi’s all-or-nothing mentality gives the plot a breakneck pace, hardly ever stopping to catch its breath, and certainly never to look back. Armed with self-aware humor that pokes fun at Marvel itself, Waititi allows the God of Thunder to finally have fun and let loose, while still offering cathartic, emotional advancements to the family dysfunction that’s defined Thor’s story. The entire thing feels like a satiric superhero story, but above all, celebrates what makes this series so endearing. Overall, the film fully embraces the absurdity of Thor’s world, pushing it way beyond the boundaries of what we thought possible and into its own realm of eccentric, cosmic adventure.

Going hand-in-hand with Waititi’s eccentricity, is a breathtaking visual language that feels inspired, rather than devolving into dull, sensory overload. Don’t get me wrong, the film is constantly a barrage of colorful sets, costumes and character interactions, but it somehow feels homegrown. As in Waititi’s previous films, there’s a sense of childlike imagination and ingenuity to everything, and even armed with a budget, these ideas feel pure. Skaar in particular is jam-packed with artist Jack Kirby’s trademark aesthetic, featuring defined lines and colors which immerse us into each frame. The icing on the cake, is the film’s action sequences, which rank among some of the Marvel universe’s biggest and baddest. From the Hulk and Thor gladiator battle, to the high-flying bookending battles that solidify Thor as one of the wildest and most powerful Avengers, this thing is an infectious feast for the eyes that leaves us begging for more.

Not to be outdone by all of the spectacle, the film’s ensemble rocks just as hard. At the heart of it all, Hemsworth proves that his comedic chops are the real deal, but still manages to make the story’s fleeting emotional beats matter. Over the course of each film, Hemsworth has taken Thor through a gamut of emotions, and ends up here with something fully formed and as magnetic as ever. Hiddleston’s Loki takes a slight backseat, but is as deviant and conniving to the core. Hiddleston’s chemistry with Hemsworth is the backbone of the film in many ways, and their relationship is the story’s heart. As Hela, Cate Blanchett is pure fire. The woman owns the sinister nature of her character, but oozes charisma and a commanding authority – she’s as entrancing as Loki was the first time out, and the film uses her well. Rounding things out, Jeff Goldblum’s Grandmaster is worth the price of admission alone, while Tessa Thompson’s Valkyrie and Waititi’s endearing rock monster Korg, are both knockouts in more ways than one. The Marvel universe REALLY needs these three characters in other films, so here’s hoping there’s more where that came from. Lastly, Ruffalo continues to delineate Hulk and Banner as two unique parts of the same whole. There’s a sadness to Hulk and Banner that takes us deeper into the duo’s relationship, and this film sets up some interesting possibilities moving forward. As in any Waititi film, it’s really hard to pick a favorite character. Everyone here is so enjoyable and the film feels like a full-on party at times.

In the best way, it’s almost impossible to keep up with Thor: Ragnarok. No one can go all in the way that Waititi does, and yet the film never feels like a mess. Sometimes it’s a heavy metal album cover, other times an 8-bit video game. What it never stops being is a relentlessly funny and fitting adventure for a character usually drenched in self-serious, easily mocked pantomime. Even with high expectations, Ragnarok delivers and then some. This is another easy hit for Marvel thanks to its director’s colorful voice, and if it’s in fact the last solo Thor film, it’s one that resets the character as one of the most powerful, fun and engrossing Avengers yet.

SG

The post Film Review: ‘Thor: Ragnarok’ appeared first on CROMEYELLOW.COM.

Year: 2017
Director(s): Guillermo del Toro
Writer(s): Guillermo del Toro, Vanessa Taylor
Region of Origin: US
Aspect Ratio: 1.85:1
Rating: R
Digital, Color, 119 mins

Synopsis: A lonely janitor’s life is turned upside down with the discovery of a classified experiment. (Source)

The Shape of Water brought me to tears. It’s an overflowing abundance of beauty and emotion that solidifies an inarguable fact: no other filmmaker in history has loved creatures and monsters as much as Guillermo del Toro. It’s this unbridled adoration of misunderstood beasts that makes his latest the crown jewel in his body of work. This is absolutely del Toro’s masterwork, a clever fish out of water story in more ways than one, and an intimately personal work of art that captures a time and place in flux. Every frame is dripping with stunning visuals, melancholy and urgency, using the past to illuminate both the best and worst that mankind is capable of. This is an important fairy tale for our times, and a cinematic gift from the mind of a craftsman with a big heart.

Things center around a mute janitor named Elisa (Sally Hawkins), who works at a top-secret government laboratory in the early 60s. Elisa’s apartment is located atop a movie theater, where she lives a quaint, unremarkable life led by a steady rhythm of mundane repetition. Still, she feels satisfied with what little she has. Things change when a sensitive asset is brought to Elisa’s facility. The asset is a seemingly intelligent humanoid being with fish-like attributes. It’s been ripped from its natural habitat for the exploitation of its extraordinary abilities, and is ruthlessly tortured by a facility superior named Strickland (Michael Shannon). Elisa, however, instantly forms an unexpected bond with the creature. The pair instinctively seem to understand each other despite an obvious divide, and with Strickland bent on destroying the creature for study, Elisa sets a plan into motion that will change her life forever.

The biggest twist in the story, is that while it does feature a beautiful creature, the monster in the film is the ugliness of humanity. It becomes clear right away, that the story’s not-so-distant time period is a striking reflection of modern day for better or worse. Racism is rampant, religious ideals are used as an excuse for prejudice and people in power would rather destroy things they can’t understand. But while del Toro’s adult fairy tale is painfully cognizant of man’s evil, it’s above all a film lined with hope and a love that breaks boundaries. It’s because del Toro’s film is such a painfully accurate depiction of evil, that the romance tucked within shines like a beacon of light in a dark world. Not to mention, the plot is also breathtakingly paced. It continually subverts genre structure to find horror in the unexpected and a love that sneaks past the cracks. There’s also a sincerity that is endearing and full of wonder, even as del Toro manages to include frank depictions of sex and kink amongst some irreverent humor.

Of course, we couldn’t talk about a Del Toro film without expressing how his story is delivered through an impeccably crafted world. If you’ve been following the director from the beginning, you’ll recognize an amalgam of his previous ideas, all coalesced into an enchanting new journey in which nothing is out of place, and no tiny detail is superfluous. Del Toro is a true visual master, from the way he captures the nostalgia of a time and place, to the top-tier creature effects which give his humanoid amphibian a warmth and eccentricity that is mesmerizing from start to finish. Needless to say, the film thrives through rich visual nuance, making this something that I absolutely feel like I need to see again, just to allow its atmosphere soak in to my being.

Another surprising element of the film, is how a triptych of characters reflect del Toro’s central creature. Del Toro deftly navigates between these characters, illustrating how their actions towards the creature spill out of their professional lives and into their personal ones. At the heart of it all, is Sally Hawkins’ Elisa. Hawkins is the story’s blinding light, an immovable force of innocence, purity and strength. Even without traditional dialogue, Hawkins’ performance emotes and speaks through body language and deed, free of any false filters. She’s an absolute powerhouse, and this is one the most profound performances of the year. Michael Stuhlbarg plays the outpost’s resident scientist, and is torn between his heart and duty. Stuhlbarg’s measured composure and silent stoicism add to the film’s complex shades of grey. On the other end, Michael Shannon is as evil and sleazy as you’ve ever seen him. Shannon’s Strickland is slimy to the bone, upholding a sense of self-righteousness and ego that is heartbreaking and savage. He’s as evil and Elisa’s Hawkins is resolute. Not to be outdone, Octavia Spencer and Richard Jenkins turn in supporting roles that are just as irresistible, adding charm and levity to the film’s sometimes oppressive tension.

Adding to his already iconic body of work, Doug Jones’ creature performance is a knockout. The creature, officially dubbed Amphibian Man is intentionally kept at distance, yet Jones gives him a humanity that helps to bridge two worlds. His performance is alien and full of turmoil, yet sensitive and fragile. Together with some top tier visual effects, Jones’ character breathes life into those around him.

Really, it’s unfair to turn Del Toro’s latest into words, because its most potent aspects transcend anything that can be said. Shape is an experience that can only truly be felt, and is cinema in its highest form, from the technical precision on display to the heart wrenching images that compose each frame. In a world rushing to destroy itself, it’s important that a film like this remind us of the good in the world, and that it’s never too far away, if only we’d dare to look for it.

SG

The post AFI FEST Review: ‘The Shape Of Water’ appeared first on CROMEYELLOW.COM.

The masterminds behind Weta Workshop have now released an in-depth video of their work on Blade Runner 2049. Director Denis Villeneuve created a truly stunning film that held up to the original in every way, and one of the things he pushed for was as little CGI as possible. The final results benefit from this, and now we can see some of the wizardry that made it work. I especially love how computers are shown aiding in the creation of this work, but ultimately taking a back seat.

Here’s hoping more studios and productions will allow this dying artform a second chance, but for now, little victories like this will do, I guess.

SG

The post Weta Workshop’s Miniatures From ‘Blade Runner 2049’ appeared first on CROMEYELLOW.COM.

Year: 2017
Director(s): Justin Benson, Aaron Moorhead
Writer(s): Justin Benson
Region of Origin: US
Rating: n/a
Digital, Color, 111 mins

Synopsis: Two brothers return to the cult they fled from years ago to discover that the group’s beliefs may be more sane than they once thought. (Source)

These days, very few horror films care to break the mold, opting instead for a laundry list of tried and true conventions guaranteed to at least prod a few of its its dozing viewers. Following up their unclassifiable and beautifully Lovecraftian romance, Spring, directors Justin Benson and Aaron Moorhead contribute an exception to the rule. With The Endless, the duo again tackle a high concept premise and wear their hearts on their sleeve rather than settling for a low bar. Kicking things off with with a direct Lovecraft quote, their latest mines our innate fear of the unknown, exploring how we can get lost within our own self-perceived inadequacy and apprehension. That such an idea is wrapped within a cult thriller that takes on a supernatural edge is the icing on the cake, resulting in another unique experience from Benson and Moorhead that’s bound to linger long beyond its end.

Years ago, Justin (Justin Benson) pulled his brother Aaron (Aaron Moorhead) out of a so-called UFO doomsday cult, hoping to tear it down by exposing it and those within it. In the present, the two still haven’t managed to reintegrate in to society. They barely scrape by as janitors, attend aimless deprogramming sessions and their relationship is tenuous at best. One day, they receive a strange message from a former companion in the cult, Anna (Callie Hernandez) that plays cryptically like a goodbye. Aaron immediately begins to reassess his life in the cult, questioning what it really was, and remembering that at least there, he felt loved and a part of something larger than himself. Aaron pleads with Justin to go back, and out of pity, the latter agrees – but just for one night. Upon arriving at the group’s camp grounds, Justin and Aaron are welcomed with open arms, and everyone seems as healthy and happy as ever. Have they been wrong about about their past this whole time? While Aaron instantly feels at home, Justin has a feeling he can’t shake. Soon enough, strange things begin to happen around the grounds, and the brothers are torn between what they can see, and what they can feel.

Without giving away too much, Benson and Moorhead’s film is a wonderfully shifting mystery full of eerie atmosphere and repressed feelings. At its core, the film deals with the idea of being paralyzed by an emotion or a feeling, which then dissects a brotherly bond full of regret, guilt and genuine love. As such, the film’s psychological terror comes from the relationship of its two brothers, exploring things they’re afraid to say as they’re faced with a decision that could send them on diverging paths. In terms of genre flourish, the film’s cathartic character work is challenged by a creepy cosmic backdrop that gets stranger and bigger by the minute. Lovecraft fans will love the ancient evil that is slowly teased, but keep in mind that film’s best creep outs come from what’s implied. Benson and Moorhead rely on some clever slight of hand to rise above obvious budget constraints and the film is better for it. There’s also a bit of unexpected humor that gains a foothold as the plot progresses, throwing things even further out of whack with a distinct tone and rich familial angst.

The performances are mixed but don’t ruin the film. If there’s a slight weak point, it’s unfortunately its two leads. Benson and Moorhead aren’t terrible, but there are weightier moments where you wish they might’ve given the roles to other actors. At their best, however, the two help us to buy in to some of the film’s more absurd moments, possessing a genuine love and respect for each other that makes the stakes urgent. Rounding things out, Callie Hernandez’s Anna and Tate Ellington’s Hal add complexity to Justin and Aaron’s struggle, lending a subtle mixture of ease and menace. Late game additions James Jordan and Vinny Curran help out with humor, grounding things just as they start to tip towards the absurd.

Overall, The Endless is the type of film we don’t get enough of. It aims for the stars (possibly quite literally) and focuses on its characters and message as much as its high concept. Impressively, the film is also written, shot and directed cumulatively by Benson and Moorhead, with a distinct DIY vibe that attributes to a homegrown realism. This is definitely a gem worth seeking out, especially if you love its Lovecraftian aesthetic and are looking for something to subvert expectation.

SG

The post AFI FEST Review: ‘The Endless’ appeared first on CROMEYELLOW.COM.

I’m a little afraid to post this because I haven’t seen Justice League and it looks like a complete mess, but man, Rich Kelly can make a pretty dang good poster. Kelly’s style is completely has own, from the distorted figures, to the hand-spun textural qualities, I’ve got a soft spot for the guy’s work, and it looks beautiful in this poster.

Will the film be good? I dunno yet, but, hey, this poster is.

On sale now at Bottleneck Gallery.

24″ x 36″ / 8 color screen print / Edition of 300 / $50

24″ x 36″ / 8 color screen print / Edition of 140 / $60

SG

The post ‘Justice League’ By Rich Kelly appeared first on CROMEYELLOW.COM.

Year: 2017
Director(s): Zack Snyder
Writer(s): Chris Terrio, Joss Whedon
Region of Origin: US
Aspect Ratio: 1.85:1
Rating: PG-13
35mm, Digital, Color, 120 mins

Synopsis: Fueled by his restored faith in humanity and inspired by Superman’s selfless act, Bruce Wayne enlists the help of his newfound ally, Diana Prince, to face an even greater enemy. (Source)

It’s impossible to watch Justice League and not take into account the backstage drama, unfortunate tragedy and even the obvious reshoots that plagued its production. The film is undoubtedly a product of all these things, disparate elements mashed together in what feels like a course correction of Batman v Superman’s boring, bleak slog. Going in with low expectations, however, the film is surprisingly fun! The plot and villain are absolutely throwaway-level bad, but Zack Snyder and Joss Whedon have found a way to let the film play to its strengths. For the first time, we like these characters, the cast is genuinely having fun and beneath all of the mind-numbing CGI, are characters we want to believe in and admire. At the film’s best, it feels like an epic crossover event ripped right from the comics, and though the story is deeply flawed, its cast makes the experience worth it.

In the shadow of Superman’s death and sacrifice, the world mourns. But Superman’s (Henry Cavill) absence has larger consequences than anyone could’ve imagined, and a new cosmic threat is slowly taking hold. In Gotham, Batman (Ben Affleck) is tracking down a new enemy, a race of beings not of this world, who are after 3 mysterious artifacts of potentially world-crippling power. Determined to protect the Earth, Batman joins forces with ally, Wonder Woman (Gal Gadot), tracking down people with special abilities in order to stave off the impending threat. Uniting Barry Allen (Ezra Miller), a kid who can move at lightning-fast speed, Arthur Curry (Jason Momoa), the Aquaman who can command the sea and Victor Stone (Ray Fisher), an ex-jock who was rebuilt into an inextricable mix of man and machine, Batman and Wonder Woman form an team to uphold the ideals that Superman stood for, protecting a world in need of hope.

While the film nowhere near has a story worthy of its characters or cast, the League’s chemistry is good enough to float above a forgettable, by-the-numbers plot (and CGI villain not even worth mentioning). The film really thrives by making us care about its ragtag heroes, assembling to fill the hole that Superman left. Objectively, the entire thing is just a succession of escalating action sequences, but things move by at a quick pace, elevating the story’s lack of depth by giving each League member a moment to shine individually and together. Unlike BvS’ disjointed action sequences, every battle is built off of teamwork, fully utilizing each member’s diverse skillset in ways that are pretty satisfying. There’s also a fair amount of humor (that self-effacing Whedon touch), which goes a long way in terms of keeping things emotionally grounded, and giving the entire film an upbeat feel. So yeah, the plot is an about face from BvS’ overly serious bore, with momentum and vibrancy feeding superhero brawls that never lose focus of the League’s heroism.

The most obvious flaw, is that the story is built on a muddy foundation, attempting to paint Superman in an uncompromisingly bright light after his wasted sacrifice in BvS. Though the story can’t really live up to the weight of that misguided and wholly unearned plot point, it does its best to move forward in a way that corrects what BvS and even Man of Steel couldn’t do. Yes, this film made me like Superman again. I’d had written off this cinematic version of him after the one-two punch of Snyder’s previous sins, but this film really fixes him, much to my disbelief. They did it.

It goes without saying, that the reason the story’s character beats work, are because of a cast that’s genuinely having fun. Affleck feels more in line with Bruce Wayne, no longer cynical or carrying out brash vendetta. It’s honestly a bummer that Affleck supposedly wants to jump ship so soon, he’s filling out the role pretty well, especially with the right material. Gal Gadot’s Wonder Woman is still amazing. Gadot finds herself in a less-refined film than her stellar solo outing, but her sense of honor and duty are two traits the film couldn’t live without. Miller’s Flash is pretty much the show stealer. He’s the comic relief, no doubt, but as one of the newb non-deity on the team, really helps to sell the film’s absurdity. Ray Fisher has a natural charm that seeps through his character’s quest for purpose. It’s worth noting that Fisher has the only thing closest to a real arc here, and he provides a pinch of poignancy. Momoa’s bro-biker-dude-Atlantean makes sense in context, and I’m totally okay with him. Lastly, seeing Cavill in a new light (even though horrible CGI-mustache removal makes most of his scenes laughable), shows that there is a lot of good to be salvaged here. Just like what Marvel’s been able to do with the Avengers, this film finally gives us heroes that are great together, and who seem like they’d be amazing to hang out with.

There’s no way around it, Justice League is a mess, but strangely, not an altogether infuriating one. Snyder and Whedon are obviously bending to studio brass mandates, but their combined vision (even if forced) works regardless, if only in terms of pure entertainment value. The genre has already surpassed what this film attempts to accomplish, and the film’s universe-ending threat is too much too soon, but it’s still a necessary step in the right direction. Even despite its deep flaws, the film captures the essence of hope that makes up the backbone of these iconic characters. If this film is any indication, DC is genuinely trying and has a good thing on their hands, they just gotta step back and put a bit more care into things moving forward.

SG

The post Film Review: ‘Justice League’ appeared first on CROMEYELLOW.COM.

I still can’t believe we’ve made it to this moment, but here we are. After months of teasing, the trailer to Avengers: Infinity War, Marvel’s biggest film ever, has a trailer. It’s a bittersweet moment in many ways, as it does mark the beginning to an era’s end, but there are still two-massively packed adventures left before a new generation takes the helm of Marvel’s Universe.

There’s so much to unpack in this trailer, and as someone who saw the Comic-Con D23 footage, there is still A LOT being left out both in terms of plot and scale. At base level though, it’s just incredible to see all of these characters together, how they’ve grown over the years and where this film is going to take them. It’s also worth nothing that the film has a gritty, war vibe to it, with galaxy-trotting leaving globe-trotting in the dust.

May 4th everyone, you know we’re all going to be there.

SG

The post The ‘Avengers: Infinity War’ Trailer Is Finally Here appeared first on CROMEYELLOW.COM.

Well, yeah, this is a thing. James Jean has been killing it this year – he’s already bound to dominate my “best of” posters list, and this might have to make the cut. In a world where Blade Runner posters are a dime a dozen, a stellar one like this puts all the rest to shame.

Just bask in its beauty below, and hit up James Jean’s store for more art.

SG

The post ‘Blade Runner’ By James Jean appeared first on CROMEYELLOW.COM.

Hideo Kojima needs no introduction amongst video game fans. His Metal Gear series has been a landmark achievement, and even after a falling out with Konami, Kojima is back to work on what looks like another bewildering experiment.

Revealed at this year’s Game Awards, was this 8-minute trailer for his latest, Death Stranding. We still know very little about the project, but, as you can tell, it’s already unlike anything we’ve ever seen. This trailer is full of everything you’d expect from Kojima, though, fantastic visuals, heady ideas, spectacle and a gravitas that’s unmatched.

As of now, we don’t have anymore info, but Norman Reedus and Mads Mikkelsen are set to star (with appearances from Guillermo del Toro), and the wait is already proving hard to handle.

SG

The post Watch The 8-Minute ‘Death Stranding’ Trailer appeared first on CROMEYELLOW.COM.

Year: 2017
Director(s): Rian Johnson
Writer(s): Rian Johnson
Region of Origin: US
Aspect Ratio: 2.39:1
Rating: PG-13
35mm, 65mm, Color, 252 mins

Synopsis: Rey develops her newly discovered abilities with the guidance of Luke Skywalker, who is unsettled by the strength of her powers. Meanwhile, the Resistance battles with the First Order. (Source)

Let the past die. Kill it. Lucky for us, this seems to have been director Rian Johnson’s mantra while writing and directing Star Wars: The Last Jedi. For the first time in too long, the series has finally been given a fresh start. That isn’t to say that Johnson doesn’t do the past justice – he definitely does, but he also realizes, that, for this new trilogy to thrive, things have to literally burn to the ground so that something new can be born from the ashes. While J.J. Abrams won fans back with The Force Awakens, it was at great cost, delivering a film that had no distinct vision, and merely a rehash of what came before. Jedi’s strengths, are that Johnson knows what we expect, this time subverting conventions to turn things on their head. It’s this reverence through irreverence, that makes Johnson’s film earn its stakes, knowing how to balance breathtaking spectacle with personal trials and blinding wit with true tragedy. For all intents and purposes, this is Johnson taking us deeper than ever, offering a complex look at its characters’ morality and mortality in ways that truly leave a mark.

When things kick off, things are already dire for Resistance rebels, who’ve been tracked down by the First Order and are locked in an unrelenting face-off that could snuff them out for good. Making things worse, a gambit by the Resistance’s prized pilot, Poe (Oscar Isaac), nearly cripples the Resistance’s fleet, leaving the rebels wide open for further attacks from the First Order’s Kylo Ren (Adam Driver) and Supreme Leader Snoke (Andy Serkis). While Poe wrestles with General Leia (Carrie Fisher) and her second, Vice Admiral Holdo (Laura Dern), on a next move, Finn (John Boyega) and a bright-eyed mechanic named Rose (Kelly Marie Tran) engage in a top secret mission that could get the Resistance back on its feet. Meanwhile, Rey (Daisy Ridley) has tracked the elusive Luke Skywalker (Mark Hamill) to a remote island. Rey is grappling with the power growing within her, while Luke continues to be haunted by a past that drove him into isolation. As each character confronts the most terrifying parts of themselves, they fight to unite and bring balance back to a galaxy slowly being engulfed by shadows.

Even though Johnson is always one step ahead of his audience, his focus is still on what has made these films matter for so long – genuine family drama, and even further, an inner battle between the light and dark raging within. With its bookending race-against-time plot, Johnson tears the team apart, cutting off each character from their friends in order to make them face who they are when alone and forced to choose between two seemingly impossible choices. It’s this understanding of the series’ fundamental battle between good and evil that gives the film so much depth, showing us that sometimes what we believe is right, can often lead to making things worse. Every character has to learn this lesson in the hardest way, oft-times at great personal cost and sacrifice to the people they love. It’s this courage to journey into the dark side that makes Johnson’s film such a personal chapter, going beyond the series’ surface values to exploring the damning implications of what is lost and found during struggle. For as bleak as the film can get, though, the story is still all about hope, and while said trait can manifest in ways we didn’t know we needed, it’s still the most powerful force in the galaxy.

While the film is a deep character study, I can’t express enough how thrilling it is. As mentioned, there’s an urgency to the entire thing. Dire circumstances hang over each scene, and every desperate gamble reinforces who these characters are and what they believe in. Johnson’s innate ability to toy with expectation is wholly engaging, splintering the story in ways we just don’t see coming. There’s also a lot of humor scattered throughout, lightening the heavy load from time to time in ways that don’t feel forced. The lightsaber battles (including a climactic all-timer) and space-set dogfights are also amongst the best we’ve ever seen, not too overdone like the prequels, but twisty enough to keep us on our toes. This is literally a well-rounded film that has it all – sacrifice, heroism and loss, brought to us by some of the series’ biggest and most poetic visuals, as well as a few moments of earned shock.

Needless to say, the ensemble is an indispensable aspect of the film, with everyone putting in great performances and building characters who are grounded despite their extraordinary circumstance. This cast is also as inclusive and diverse as the series has ever seen, with so many getting their chance to shine in ways that will make you want to cheer. An entire post would be better fitted to pay tribute to these performances, but here’s the short of it. Daisy Ridley and Adam Driver step it up, giving Rey and Kylo a deep connection that is as fascinating as it is frightening. John Boyega’s Finn and Kelly Marie Tran’s scene stealing Rose give the film its heart. Laura Dern’s Vice Admiral Holdo is a boss who commands the Resistance with stoicism, while Oscar Isaac’s brash Poe is a sobering takedown of a hyper-masculine stereotype. Though all of these new characters are fun, Johnson’s heart belongs to Luke and Leia. Hamill gets some real meat to chew on this time out, working through deep character trauma with an explosive arc that’s easily a series highlight. As for Leia, you can tell their were big plans for her going into Episode IX. Still, Fisher’s role in the film is a beautiful tribute to her character and everything she came to stand for, giving the film a sense of grace and gravitas.

The Last Jedi dismantles the franchise to build it up into something greater. These films have always been about the battle between good and evil, but Johnson takes things all the way, questioning what this idea actually means. With this chapter, the focus is on characters first and foremost, infusing abstract ideals and complex trauma into true-blue heroes and villains that we can’t help but relate to. Even further, Johnson takes the series’ most mystical aspect (the nebulous Force) and turns it into something that feels more important, inclusive and innate as ever. Without mincing words, this is what The Force Awakens should’ve been, blending heart and craft into a story in which failure is just as important as success, and that crushing defeat is oft-times a precursor to rebirth and renewal – and like that, Star Wars feels new and exciting again.

SG

The post Film Review: ‘Star Wars: The Last Jedi’ appeared first on CROMEYELLOW.COM.

Illustration made a big comeback in mainstream circles, and in general, more studios were willing to take things next level. Sure, most of this list still represents indie studios, but, it also shows that the influence is spreading. More companies are starting to realize that floating heads and bland photos of movie stars aren’t gonna cut it anymore. These pieces all have heart, creativity, and go to great lengths to capture the essence of each film they’re representing.

Alien Covenant / Ten30 Studios and BLT Communications: Ridley Scott inevitably chose to favor artificial intelligence rather than the titular aliens, but for a few moments, we thought that the series was returning to its horror roots with a bit more grandeur and scope. Pulling from Renaissance-style art, this is as bold and terrifying as you can get with mainstream poster art. Well played.

Bad Batch / Canyon Design Group: Bad Batch is an exciting, neon daydream. Rather than just aping the film’s tone, I love that this series of posters captures its pulpy theatrics, signaling the arrival of a hard-hitting  film that isn’t here to make friends.

Colossal / Tim Biskup, Boland Design Company: Colossal was an a amazing film that had a marketing campaign that kept almost all of its premise under wraps. With that being said, this illustration is stylish and fun, hinting at what the film would be without spoiling anything. This type of clean, geometric aesthetic is a rarity, and it’s done to great effect here.

Good Time / Akiko Stehrenberger: Another portrait that beautifully captures the central bond at the film’s heart. I love what Stehrenberger did here, giving us something that could almost pass as a photo thanks to its realism and the pained expressions of her subjects. This is absolutely one of the year’s best films, and this captures its loose, fly-on-the-wall approach.

Guardians of the Galaxy Vol. 2 /  B O N D: Superhero films and Marvel films specifically are in the middle of a renaissance, but their posters almost always stink. Toying on the film’s musical backbone, this ballsy poster helps to sell the film on the strength of its characters alone – and not a single one is in the poster (aside from Groot)! Smart, cool and fun.

I, Tonya / Rory Kurtz: This is a late edition, but it stands out. Kurtz killed it earlier in the year with his Baby Driver poster, but whereas that film had to sell floating heads, this one gets room to breathe. It’s a simple, but elegant portrait of its white trash heroine, breaking the ice with a ferocity that seeps through the composition. I love how refined Kurtz’s art has been getting, and this is one of his best.

Ingrid Goes West / Akiko Stehrenberger: Another obvious but still understated concept done in a sophisticated way. Stehrenberger captures the idea of Ingrid, a product of her internet persona and the hollowness that hides between each curated photo. This one is poignant and wonderfully sharp.

John Wick Chapter 2 / LA: Sometimes the most literal solution is the best one! John Wick Chapter 2 transforms its titular character into a moving target, so what better way to illustrate that? Nailed it.

The Killing of a Sacred Deer / OTMentertain: Like the film, this poster is pretty hard to explain, but somehow makes sense on a primal level. I love how it ties all of these characters together through a minimalist collage, one that’s creepy and hard to forget.

Lady Bird / BLT Communications: At first, it seems like there isn’t much to this one, but while it isn’t super deep, it’s a great photo, stylized in a way that captures Lady Bird (played by Saoirse Ronan)’s Catholic upbringing. I love the blurred cross that comes to rest just on her head, drawing spatial tension while the stained-glass frame ties it all together.

Logan: Who says the illustrated poster is dead? Director James Mangold basically created an ultra-violent western, and this poster is a reflection of that. This feels like the type of art we’d see in a old school theatre, you know right underneath a marquee. It also compliments how timeless this story feels.

mother! / James Jean: Ah, the first James Jean on the list. The second this poster was unveiled, I knew the film was going to be something special. The film delivered, but this wholly strange painting set the stage. Out of every selection on this list, this is the most elegant, jarring and brutal piece of work.

Phantom Thread / eclipse: Another poster that uses nostalgia yet feels modern. This is simple, yet sophisticated, using a foreboding profile shot against a glamorous Vicky Krieps and a gown that pops off the frame.

Proud Mary / Cullin Tobin, LA: To be honest, this film doesn’t look very good. I LOVE Taraji P. Henson, but this really weird trailer doesn’t connect for me. Regardless, these three posters are great, evoking a strong blaxploitation vibe and a heroin who looks dressed to kill.

The Shape of Water / James Jean: One of my favorite films of the year, and one of the best posters to back it up. This lighter, ethereal variant of James Jean’s art follows the film’s impressionist themes, and how its characters are clinging onto fleeting emotions that are elusive yet worth fighting for. I could stare at this thing all day – it puts us in a trance and captures the singular romanticism that only director Guillermo del Toro can pull off.

The Void / Gravillis Inc: Jeremy Gillespie and Steven Kostanski’s John Carpenter-esque ode to cosmic creature features is a low-key masterpiece. It’s influences are obvious, but the pair know how to make it all their own. What I love about these posters, aside from their three eerie illustrations, are how they only hint at the lunacy contained within the film. This is a perfect example of how to tease things just right, without giving away too much.

SG

The post Favorite Film Posters Of 2017 appeared first on CROMEYELLOW.COM.

More and more, music scores are breaking boundaries and pushing the limits of what can and should be done. We’re seeing more diverse soundscapes than ever, and this list is a reflection of that. I love that the artform is becoming something not exclusive to classically trained composers, and it’s forcing the old guard to keep up. Here are the music scores that really hooked me throughout the year.

Thelma by Ola Flottum: Joachim Trier’s story of sexual and personal awakening is a dreamlike labyrinth of poetry and dense atmosphere. Tying it all together, Ola Flottum’s score is full of wonder and majesty, even if laced with an underlying sense of poignancy and sinister flourishes. At every step, Flottum mirrors the repression and longing of the story’s characters, blending somber melodies with hopeful moments of grace.

The Girl With all the Gifts by Cristobal Tapia de Veer: Colm McCarthy’s subversive zombie film is a breath of fresh air. It diverges from genre standards and tells a bleak, apocalyptic story with a very tender and sincere heart. de Veer’s score hooks us right from the start, offering spliced ethereal vocals, moody electronics and a haunting pulse. This is as eclectic as it comes, and a perfect companion to a film that defies classification.

Raw by Jim Williams: Like the film it accompanies, Williams’ score shifts, snakes and transforms, hitting us when our guard is down. Initially starting as a series of folky, acoustic cues, the score eventually transitions into menacing keyboard melodies, distorted instruments and dissonant flourishes. Beautiful and terrifying all the same.

Life by Jon Ekstrand: In the best way, Daniel Espinosa’s space thriller is a modern predecessor to John Carpenter’s claustrophobic apocalypse films. Rather than pander with another 80s 8-bit film score, Jon Ekstrand went the opposite route, crafting an operatic, orchestral score that is sounds as huge as it is terrifying. Toying with two extremes, Ekstrand’s score feels timeless but not a slave to what came before.

Alien Covenant by Jed Kurzel: Ridley Scott’s latest foray into the Alien universe was more a study of life and creation than it was about the claustrophobic horror we were hoping for. Scott traded standard jolts for deep mythology and existential terror, and it gave Kurzel the perfect playground for  rich orchestral textures, spinning off from Jerry Goldsmith’s original score. The results are reverent, yet strikingly original.

Twin Peaks by Various Artists: Twin Peaks’ return was perhaps one of the few real events of the year. Lynch brought his show back in a way that no one else could, and to immerse us into his warped imagination, he culled from a rich collection of sourced and original music. The performances that closed off each episode boasted a killer lineup of both past and future legends, while Angelo Badalamenti and The Chromatics’ Johnny Jewel provided melodic atmosphere. To really dive in, you’ve gotta check out Music for the Event Series (the Roadhouse performance tunes), Limited Event Series Soundtrack (Badalmenti’s score) and Windswept (a curated album by Johnny Jewel).

Dishonored 2 / Prey by Various Artists: Arkane Studios put out two of the year’s best video games. Both toyed with alternate realities and boasted gameplay with unique mechanics and open-ended play styles. For Dishonored’s fantasy-drenched, Victorian steampunk aesthetic, Daniel Licht’s hammered dulcimer theme is stunning. In a single passage, he captures the story’s mystery with vibrance and intrigue. For Prey’s space-set techno thriller, Mick Gordon, Matt Piersall, Ben Crossbones and Raphael Colantonio went more electronic. From the opening credits’ poppy “Everything is Going to be Okay” to the foreboding “Typhon Voices”, this score takes us to places, evoking a sleek, sci-fi horror soundscape that hypnotizes.

A Ghost Story by Daniel Hart: Matching the film note-for-note, Hart’s music and ideas are stripped to their most bare form, allowing sensory melodies to breathe and expand within our imaginations. What we end up with is a score that fills our souls, rich and beautiful, as its chamber-like presentation follows director David Lowery’s film beyond time and space.

The Lovers by Mandy Hoffman: This is one of the scores that truly surprised me this year. Rather than succumb to the genre’s bland and boring stereotypes, Hoffman went classic, evoking fanciful cues reminiscent of Max Steiner and a golden age of forgotten Hollywood. The final product gives the film a waltzy rhythm that’s as contagious as its characters’ newfound and irreverent romance.

Ghost in the Shell by Lorne Balfe: Label this as one of the year’s greatest upsets – not because it’s a bad score, but because an official release has been indefinitely canned. Shrouded in controversy and not as good as it should’ve been, this film’s one, uncontested bright spot is its pulsing neo-electro score. From arpeggiating rhythms to thundering drums, Balfe’s work is soulful and kinetic. Luckily, in light of the scrapped release, Balfe has uploading an album’s worth of cues to his YouTube. There’s also an impromptu track listing of the uploaded selections in sequence order. Hit up a YouTube audio ripper and have at it.

Blade Runner 2049 by Hans Zimmer and Benjamin Wallfisch: When Denis Villeneuve stalwart Johann Johannsson was scrapped from the film close to completion, it felt like an omen. Zimmer and Wallfisch taking over suddenly felt like a commercial move, something done to create an overtly accessible soundscape. Luckily, this couldn’t be farther from the truth. Though we’ll always wonder what Johannsson could’ve done, Zimmer and Wallfisch’s work turned out to be inspired, resulting in a dense cacophony of sonic bliss that is at once impenetrable and moving. More impressionistic than anything else, this score is breathtaking, turning scenes like the film’s climactic battle into all-time cinematic bliss. At the two-minute mark and beyond, “Sea Wall” is on a level of its own.

Good Time by Oneohtrix Point Never: With their latest film, the Safdie brothers created a bonafide knockout. Their story about a botched heist and two hustling brothers falling through the cracks is a new, hard-hitting classic. Electro artist Daniel Lopatin created a series of themes that ebb and flow with the desperation of each character, keeping the energy surging with arpeggiated attacks, while spacey keyboard solos help to capture the fluidity of each moment. When the score kicks in and locks, it’s a ride in and of itself.

Call Me By Your Name by Various Artists: This one’s a doozy. Director Luca Guadagnino didn’t create a mere film so much as he did an immersive, sensuous experience. We’re right there with two characters as a whirlwind romance progresses and takes us by storm. Anchoring the affecting story, a careful selection of classical pieces and originals by the likes of Sufjan Stevens were assembled. From the galloping piano work of Ryuichi Sakamoto to a pivotal work from Frank Glazer and even new wave tunes from The Psychedelic Furs, this is an eclectic collection that takes us through every spectrum of human emotion.

The Shape of Water by Alexandre Desplat: I have to admit, though I was thoroughly enraptured by Guillermo del Toro’s latest masterwork, Desplat’s score didn’t immediately hit me. It was after a second viewing that this really hit home, and I was able to realize the breadth and nuance of its scope. Like del Toro’s film, beauty is in the details, from a whistled tremolo melody, to themes that are constantly elaborated on, Desplat’s latest takes a hold of us in its own way.

Phantom Thread by Jonny Greenwood: At the time of this post, Greenwood’s score isn’t fully available yet. I’ve seen the film, however, and let me tell you, the first time I heard it, I knew this was THE ONE. This is the best score of the year, dripping with seductive sinister nuance and a wonder that constantly battles the darkness. Each note feels so deliberately selected, and nothing feels out of place, even as the score switches from symphonic voicing to chaotic piano solos. It’s art like this, that boggles the mind, and makes me wonder how someone’s mind can even think like this.

SG

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I swear it gets harder to put this list together every year. Superhero films, sequels and reboots may be taking home the big bucks, but there are too many films to keep up with. This list is in no particular order, and I love all of these more than I can say – each one is made up of ideas that inspire while daring to expose feelings we can’t yet put into words or didn’t know we had.

Stronger: At this point, any “based-on-true-story” project gets a long, healthy eye roll. I can’t take how many of these are either too fictionalized, obvious Oscar bait, or overly sappy, and David Gordon Green manages to sidestep all of these flaws. Armed with incredible performances from both Jake Gyllenhaal and Tatiana Maslany, Green’s film is immersive and understated, drawing emotion from doc-style realism and character studies that prize the mundane over the sensationalized. We come out of this film feeling empowered and with a renewed sense of empathy. FULL REVIEW

Let the Corpses Tan: Helene Cattet and Bruno Forzani are an acquired taste. While some may chalk their work up to sensory endurance tests, I find the pair two irreverent auteurs who speak their own language. You have to meet them on their own terms, and this subversive gangster film is no different. Essentially one long shootout, the film is a cool, relentless barrage of creaking leather, bullets and sleaze. FULL REVIEW

Colossal: Nacho Vigalondo is a gift to cinema, and this film’s the proof. Marketing cleverly kept the film’s secrets close to the chest. I’m not going to spoil them here, but let’s just say… this is the feminist rom-com Kaiju fest you never thought you needed. Giant monster battles, even bigger heart. FULL REVIEW

Personal Shopper: It doesn’t feel right to pare Olivier Assayas’ film down to mere words. Taking the iconic ghost story and turning it upside down, Assayas and star Kristen Stewart have created a quiet, meditative rumination on the nature of connection, meaning and purpose, both in this life and the next. The film ramps into a thriller in its third act, but never loses sight of the poignant ideas that anchor it. FULL REVIEW

Okja: Probably weirdest Netflix film to permeate the mainstream consciousness this year, Bong Joon-ho’s film is a passionate plea for decency in a celebrity-obsessed, corporatized world. The film at times feels like a Spielbergian blockbuster, but retains all off Bong’s eccentricity and a very layered exploration of our relationship with each other, the animals we share this world with, and nature itself. It doesn’t hold back punches and gets pitch dark when it needs to, but also carries the uncompromising hope for a better world. FULL REVIEW

The Square: Ruben Ostlund’s film is an unclassifiable madcap social satire that makes us angry and sad as much as it makes us laugh. Star Claes Bang balances a comedic tightrope, playing a museum curator with big hopes for his social art experiments, while also being inept when it comes to the people and things around him. We laugh until we can’t anymore, and then the film hits us while we’re down. A one-of-a-kind experience that is on a level of its own. FULL REVIEW

The Beguiled: Sofia Coppola gender flops the male gaze with a period setting that sends an all-girls school into chaos. Every member of the ensemble is impeccable, and Coppola’s most structured film is seething with atmosphere, tension and purpose. FULL REVIEW

A Ghost Story: No matter how many ghost stories you’ve seen, you’ve never seen one like this. Director David Lowery pares down the symbolism behind his story to explore the nature of time, memory and existence. As intimate as the film is, it’s also unabashedly ambitious and epic in scope. Casey Affleck is underneath a white sheet the entire time, and as the film comes to a close, its warmth and wonder radiate into our lives. FULL REVIEW

Columbus: Video essayist-turned-director Kogonada knocks it way outta the park with his first feature. Most films and directors will never reach the emotional heights of this effort, which overflows with measured nuance and complexity. From the architecture that anchors everything, to the performances from Jon Cho and Haley Lu Richardson, this film makes our hearts feel full. FULL REVIEW

Get Out: We never saw this one coming, but man, it’s about time. Jordan Peele shocked us all into submission with this film, which feels like the best Twilight Zone episode never made. Peele channels the African American experience into a story that’s more terrifying because it’s too real and too true. FULL REVIEW

Good Time: Crime dramas have never hit this hard. Bringing an unparalleled sense of realism and unflinching look at two hustling brothers, this subversive heist film is a new classic. Whereas most films would sensationalize the story at the film’s heart, Josh and Benny (who also co-leads) Safdie use their film to shine a light on the devastating effects of a broken system. Taking place over the course of a night, we can’t look away from this poverty-stricken, drug-addled race against time – nor should we. FULL REVIEW

mother!: Easily the most misunderstood film because it really isn’t a film – it’s an expansive personal diary entry that allowed Darren Aronofsky to exorcise his creative demons at 24 frames per second. The symbolism is rich and multi-faceted, allowing for a few different interpretations, but no matter how you look at it, the film is a singular experience that will probably never be recreated again. FULL REVIEW

Blade Runner 2049: Denis Villeneuve pulled off the impossible with this one. He created a sequel that wasn’t needed, expanding the Blade Runner universe and its central story without demystifying what came before. This is a magic trick if I’ve ever seen one, boasting beautiful synergy between dreamlike storytelling and technical mastery. FULL REVIEW

The Florida Project: Sean Baker hits another home run and shows us why he’s one of the most important voices in film. Starring a pint-sized Brooklynn Prince, this fairy tale exposes transience at the doorstep of Florida’s Magic Kingdom, exploring the rot of America’s opulence and those who scramble to survive in its shadow. The film is pure and full of innocence and wonder, but doesn’t shy away from the hard truth at its center. FULL REVIEW

The Shape of Water: Instantly the crown jewel in director Guillermo del Toro’s already stacked body of work. His entire career has led to this adult fantasia, using a cold-war setting to probe racism, xenophobia and hope, which to this very day continue to battle for dominance in each and every one of us. Rich production design, immaculate makeup/prosthetics for one of cinema’s most ravishing creatures, and an Oscar-worthy turn from Sally Hawkins. FULL REVIEW

Thelma: Sensual and provocative, Joachim Trier’s story of identity and sexual awakening is horrifying and ambitious. Unfolding like a waking nightmare, Trier blends abstract dream sequences with a story that doesn’t ever go where we’d expect. A true horror film that keeps its focus on humanity and the gnawing truths we keep hidden within. FULL REVIEW

Bodied: Joseph Kahn is probably the most misunderstood director out there, but he’s also one of the most profound. Following up his teen comedy slasher Detention, Kahn’s latest takes on battle rap. Laid bare within each war of words, is Kahn and writer Kid Twist (Alex Larsen)’s look at prejudice, racism and everything in the middle. The film is brutal in every way, but also a celebration of how art can be used as a weapon to destroy and unite. FULL REVIEW

Three Billboards Outside Ebbing, Missouri: Martin McDonagh’s latest is hard to watch because its about pain – and what it says about this fundamental human trait is breathtaking and mandatory. Frances McDormand, Woody Harrelson and Sam Rockwell turn in a triptych of broken, flawed characters whose lives intersect through trauma. A few of the scenes in this film are absolutely the most wrenching and touching moments I experienced in 2017. FULL REVIEW

Phantom Thread: Paul Thomas Anderson can do no wrong, but with Daniel Day-Lewis, he’s untouchable. For perhaps the duos last collaboration, the pair craft a story about the casualties and grace of obsession and romance. The film feels timeless and evokes a bit of Hitchcock, and star Vicky Krieps near steals the show as a headstrong woman who won’t stand silent as she fight for what she wants. Bonus: that Jonny Greenwood score. FULL REVIEW

Call Me By Your Name: Director Luca Guadagnino’s film swoons with warmth and reminds us to never repress our most honest feelings. Guadagnino has a narrative language all his own, and stars Armie Hammer, Timothee Chalamet and Michael Stuhlbarg are perfect. Overflowing with sensuality, poeticism and grace.

BONUS: Twin Peaks: The Return: Of course this had to go on here! Lynch hasn’t done a traditional film for sometime, but his latest project made it into our living rooms in 18 weekly installments. Every week, we tuned in to the inscrutable work of a master, hypnotized by eccentric characters and an ambitious study on the nature of good and evil. The performances (especially those 3 characters from Kyle MacLachlan) were stellar, the musical guests were beautifully curated and in the end, it went out on its own terms. The definition of pure art, and something that may never happen again.

SG

The post Our Favorite Films Of 2017 appeared first on CROMEYELLOW.COM.

This is not a drill people. Over the holidays, Hero Complex Gallery released Drew Struzan’s Back to the Future poster as an officially licensed screen print. To me, this is the holy grail of all Struzan prints – his entire body of work is great, but common, this is THE film.

The good news? The poster, along with an non-text variant is currently on sale as a timed edition. This means, no ebaying for you, and you can order as many as you want, as long as it’s within the allotted window. Said window closes next Monday, January 15th, at 11:59 PM PST.

For those interested, the print was scanned at high res from the original art, and this printing is officially licensed from Universal. You can even opt to get it signed by Struzan for a few bucks more.

Hit up Hero Complex Gallery right now or forever hold your peace.

One-Sheet variant / 24″ x 36″ / Screen print with credit block / Edition size TBD / $135

Art print variant / 24″ x 36″ / Screen print without credit block / Edition size TBD / $135

Additional Struzan signature / $50

SG

The post Drew Struzan’s ‘Back To The Future’ Poster Is Now A Screenprint appeared first on CROMEYELLOW.COM.

Year: 2017
Director(s): Jamie Greenberg
Writer(s): Jamie Greenberg
Region of Origin: US
Rating: n/a
75 mins

Synopsis: A 1938 screwball comedy set in the far future year of 2018. (Source)

As big budget, mainstream sci-fi continues to crumble under the weight of its hollow spectacle and ballooning budgets, Future ’38 pares the genre to its core, removing the fat to get to its greatest strengths. Posing as a forgotten “lost” film, Jamie Greenberg’s lo-fi delight is impossible to watch without a grin, blending a smart premise with vibrant colors and even wilder ingenuity. From a genre standpoint, this thing’s got all the bases covered, acting as an astute vision of our times, a love letter to classic Hollywood cinema and a slapstick adventure with enough gee-golly to make its alternative timeline a pure joy. Even performances from wild-eyed leads Nick Westrate and Betty Gilpin are instant wins. Future ’38 doesn’t have the sheen of a million bucks, but has a heart, ideas and excitement that money can’t buy.

The film’s story kicks off by acknowledging its fictional roots in the best of ways. None other than astrophysicist Neil Degrasse Tyson, shows up, popcorn in hand to herald Future ’38 as a newly rediscovered classic, and one of the most scientifically accurate time travel films never seen. As the theatre that Tyson is sitting in goes dark, we enter the film to meet Agent Essex (Nick Westrate), who’s been tasked with preventing WWII through a gambit. Using experimental tech, Essex’s mission requires that he travel forward to the year 2018. Once there, he’ll collect a formica isotope that’s been growing powerful with time. The American government hopes to use the isotope to create a bomb that could turn snuff out their German foes. Hurled into the future, Essex is intrigued by what he sees: independent, working women, equality, video phones, disposable plates and more. He’ll also meet a strong-willed woman named Banky (Betty Gilpin), who’ll end up assisting Essex in his race against time.

Perhaps the trippiest thing about Greenberg’s film, is that it isn’t just a story about the future, it’s a film about our past imagining the future. What did this faux time capsule of a film get wrong, and what did it get right? With such a heady, but fun premise in his hands, Greenberg doesn’t disappoint, using nostalgia, naivety, innocence and hope as weapons to dismantle our own ideas about world of today. At the behest of Greenberg’s irresistible wit, the film ends up tackling things like sexism, racism and technology, albeit without ever losing a pep in its infectious step. The dialogue is also snappy, the “futuristic” contraptions are outrageous and the comedy is smart, relying on more than just crude jokes and toilet humor for a breath of fresh air. In general, there’s never a dull moment here, building off of a ticking-clock plot that subverts at every step.

Beyond the film’s easy rhythm, are a pair of leads who imbue everything with natural magnetism. Westrate’s Essex is a brilliant archetype of a yesteryear everyman, oozing with unclouded charm and bright-eyed wonder. Essex feels ripped straight out of a classic film, with Westrate delivering his ridiculous dialogue with utmost sincerity. Complimenting Westrate perfectly, Gilpin’s Banky is the yin to her counterpart’s yang. Gilpin gets some room to play with her character, who through the film’s premise is a stylized version of a modern woman, complete with dry, satiric delivery and a commanding slant. Gilpin matches Westrate note-for-note, in many ways acting as the film’s real lead. Together, both performances aren’t too self aware as to ruin the illusion, but never feel like a succession of stereotypes. Each performer brings their own personality to the story, allowing their characters to really stand on their own.

At a time when nostalgia threatens to suffocate anything original, Greenberg’s meta view of the past and present has ideas and substance that matter. Future ’38 is also a reminder that the best sci-fi comes from dissecting what we know about the world around us, and this film’s witty awareness is what makes it so rewarding and fun.

SG

The post Film Review: ‘Future ’38’ appeared first on CROMEYELLOW.COM.

Everyone loves a good roller coaster, but what about one modeled after James Cameron’s Aliens? The film is inarguably one of the greatest ever, but what would it look like as a ride? A fan has turned their love for the film into just that, thanks to a video game called Planet Coaster, which allows players to design coasters with painstaking detail.

YouTube user Hin Nya didn’t just recreate the film’s set pieces verbatim, but truly translated the film’s plot into a ride, using various special effects, tension and clever maneuvering to pull off something pretty magical.

The entire thing is about 15 mins, but at the end of it, you won’t feel like you’ve wasted anytime. via

SG

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Though he’s been turning in a lot of more mainstream, commissioned film posters of late, Kilian Eng’s latest prints a reminder that his original pieces are unbeatable. No one matches Eng’s flair for detail and imagination, and this fact is fully on display with “Twin Bridges” and “The Water Garden.” Both pieces instantly transport us to stunning alien worlds, each of which are as bewildering as they are inviting.

On sale this Friday, January 19th, 5PM UK time, only at Black Dragon Press.

Twin Bridges / 18″ x 24″ / Giclee / Signed / Edition of 40 / £60 (about $83)

The Water Garden / 18″ x 24″ / Giclee / Signed / Edition of 40 / £60 (about $83)

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Some icons just deserve every tribute they can get, and H.R. Giger’s Alien Xenomorph is one of them. The creature is one of the most beautiful ever designed, and I love getting to see how each artist puts their stamp on it. As expected, Gary Pullin’s rendition is sleek, playing with smart lighting, shadows and framing to bring out the Xeno’s best.

Officially licensed, this Alien poster is on sale from Grey Matter Art, Thursday, Feb 1st at their shop.

24″ x 36″ / Screen print / Edition of 225 / $50

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