Feed, page 11

  1. Plainness and Sweetness
    frankchimero.com

    Frank Chimero:

    I find that the more input I have in the content and strategy of the project, the less burden I place on the aesthetics. Perhaps this is because I believe the aesthetic of the work should be an extention of its objectives, so if you get the strategy right, the look follows. Since I like to tackle problems sideways, I must risk being plain and rely on direct visuals to keep the work comprehensible.

  2. The Tricky Business of Measuring Consciousness
    wired.com

    Jason Pontin for Wired:

    In a groundbreaking study, 102 healthy subjects and 48 responsive but brain-injured patients were “zapped and zipped” when conscious and unconscious, creating a value called a “perturbational complexity index” (PCI). Remarkably, across all 150 subjects, when the PCI value was above a certain value (0.31, is it happens) the person was conscious; if below, she or he was always unconscious.

    Massimini’s test is important because it is the first real proof of integrated information theory (IIT), a theory of consciousness invented by neuroscientist and psychiatrist Giulio Tononi at the University of Wisconsin.

    IIT doesn’t try to answer the hard problem. Instead, it does something more subtle: It posits that consciousness is a feature of the universe, like gravity, and then tries to solve the pretty hard problem of determining which systems are conscious with a mathematical measurement of consciousness represented by the Greek letter phi (Φ).

  3. Pacific Rim: Uprising 2018

    Watched 8 April 2018

    A far cry from the original’s simplicity and earnestness, but these giant robots still tickle my fancy. I had a blast watching it.

    The amount of distinct stuff happening in this movie is bonkers — it felt like an entire mecha anime series crammed into a couple of hours. I really wish it could have been made as a 10-hour TV show that actually took the time to linger and explore all those ideas.

  4. Annihilation (2018)
    filmfreakcentral.net

    Walter Chaw feeds into my obsession with this weird, wonderful film:

    What’s impressive is Annihilation’s willingness and ability to evoke the soul-sickness that leads to great moments of art, great moments of self-destruction, and an equation of the two. Its heroes suffer from cinematic time: years can pass and outside the theatre it’s a mere two hours. They suffer, too, from this idea that you can enter into a space, experience something that is entirely alien, and then re-emerge struggling to articulate the crucible of your experience. How many versions of your old selves have you left behind in a museum, a theatre, a concert hall, a book? Is it a thousand? How many new versions have emerged into the uncanny bright of the day outside?

  5. Jumanji: Welcome to the Jungle 2017

    Watched 12 March 2018

    Almost okay. Yet another nostalgia grab that fails to be anything more.

  6. The Room 2003

    Watched 3 March 2018

    I have no idea how to assign a rating to this, so I won’t.

    Schadenfreude aside, I mostly just wanted it to be over. Yet I’m somehow glad I watched it. I can understand why people latch onto it, but I’m not counting myself among them.

  7. Coco 2017

    Watched 26 February 2018

    It’s almost impossible not to love this film — it’s adorable and wholesome and beautiful. I find it great to see Pixar’s push for diversity keep paying off, and their technical prowess keep noticeably improving, ever on a league of their own. The sheer vibrancy, scale, and depth of the design and animation work that went into this film is astounding.

    I cried on cue every time I was supposed to. The tearjerking formula is as effective as ever, yet feeling more and more predictable and manipulative, no matter how well-intentioned.

    Brad Bird says “animation is not a genre”, but I’m afraid Pixar movies might be turning into one — with very specific and recognizable themes, tropes, and character arcs. I’d really like to see a wider range of story types coming from Pixar, maybe even exploring the direction the excellent Borrowed Time short went in. Let’s see what Bird does with Incredibles 2 this year, though I’m not holding my breath for a revolution.

  8. Three Billboards Outside Ebbing, Missouri 2017

    Watched 25 February 2018

    Sharp wit, fantastic acting, and all the panache of a big Oscar film. But story-wise, doesn’t seem like a particularly worthwhile exploration of any of the themes it presents — small-town America, anger, hate, blame, redemption — they’re treated heavy-handedly, often sacrificing depth for the sake of being funny or provocative (oh god, the daughter scene). That shallowness might be intentional, but it left no room for me to empathize with any of the characters.

  9. Lady Bird 2017

    Watched 25 February 2018

    Instantly charming, emotionally charged, and flawed in all the right ways. A restrained, impeccably edited 90-minute runtime. I came in optimistic, but I never expected a perfect coming of age film.

  10. Thor: Ragnarok 2017

    Watched 17 February 2018

    I appreciated the charm and levity that Taika Waititi brought to this film, but it wasn’t enough to shake the feeling I get from most Marvel movies: a deep emotional inconsequence and lack of introspection. And when Benedict Cumberbatch’s ridiculous character shows up for a completely unnecessary five minute scene, it’s blindingly obvious why that is — there can be no intimacy when every character has (or potentially will have) their own franchise begging for your attention.