Henry's Movie Blog

 This frame is preceded by Jin successfully asking Amelia out on a date. The previous frames, in Jin’s words, “went by in a blur” (104). Lots of little frames with sparse dialog, thus the reader moves quickly across these frames. Here, it slows down. One frame takes up the whole page. The “YES.” from the previous page sinks down from the ceiling, sinking in, soaking into his chest. This frame takes up the whole page, with lots of negative space. We slow down with this moment of low intensity, muted, cool colors. The moon in the background. It is peaceful. The line of ‘yes’s can be interpreted as leading lines down to Jin. Even though I saw the best first and then the text at the top and then the yes line, but rules like these aren’t written in stone. It’s good to know them but techniques like those aren’t 100% followed, and some of the best shots in film break rules or invent their own. The color palette was also something I enjoyed. The vivid yellow really stands out in the cool r...

This frame stood out to me for many reasons. First, I thought it was a cool idea, when the protagonist breaks through “reality”, to have the actually border of the comic be torn apart. I noticed how many of these frames abided by the rule of thirds, as shown above in my annotations. In the story, the Monkey King, ashamed of his heritage, attempts to find strength in becoming a powerful human, even more powerful than God. After the king breaks reality and, showing his hubris, vandalizes and urinates on a gold pillar, he zooms back to God and is shown he was in no way more powerful than God. The pillars, revealed in the lower slide, are God’s fingers, proving in a fun way that he is always in God’s reach. The monkey kind wishes to find happiness through leaving his identity of being a monkey, yet what God is trying to teach him is to find happiness through accepting what you were meant to be: a monkey. In the lower-right frame, the Monkey King towers over God. Although he has height, God...

In this shot, the first thing that we see is Walter’s face. Sweaty. Tired. Slanted. Usually, in film language, when someone is slanted or horizontal in comparison to another character faced vertical, it is a signal that the former is in a vulnerable position. Keyes towers over Walter, taking up the two right thirds of the screen, leaving the bottom left third for Walter. Our eyes are also drawn to him because of the brightness of his face.  We are then led through Walter’s eyeline to the match that is lighting his cigarette. We then travel up Keyes’s arm and to Keyes. His hat casts a shadow on his face, making him look threatening. Both these characters are in the foreground, and Keyes is squatting down, almost dropping down to Walter’s level as he gives an act of kindness just before his life ends, no matter if he dies or not. At first glance, this shot looks to frame Keyes in a dark, menacing light, but as we look closer we see this facade fade and this inner friendship shine thr...

 This is a report of a single frame from the movie Minority Report: a film by Steven Spielburg.  My claim, to state it clearly, is that this composition isolates and contrasts Colin and Tom while simultaneously comparing them. Here is my interpretation on why Steve would want to shoot these characters in the way that he did. First of all, if you squint, you can't tell these characters apart. They look exactly the same really, except for Tom's plain Steve Jobs look and Colin's professional look. Colin is clearly the more stylish man, while Tom is also handsome but very function over form. His haircut is not at all stylish because he doesn't care about the way he looks. Colin probably uses a pomade. He looks very nice. One could argue that both are professional in different ways. Which transitions beautifully into my next observation. They are similar, yet different. From the start when these two people meet, there is a rift. Tom won't shake is hand and calls him a sl...

nostalghia over the garden wall the player un chien andalou 10 things i hate about you