‘Elle’ and ‘Billy Lynn’s Long Halftime Walk’ In The ‘Moonlight’: A Great Weekend at the Arthouse Box Office
Subtitles showed surprising resilience this week, while “Moonlight” continues its march toward victory.
Subtitles showed surprising resilience this week, while “Moonlight” continues its march toward victory.
Twenty-five years old, British, a stage actor by training — oh, and a total newcomer to the world of film acting.
Two-time Oscar-winning cinematographer John Toll left his comfort zone for Ang Lee’s experiment in 120 fps/3D/4K, screening in LA at the Cinerama Dome.
The director’s foray into super-high frame rates isn’t a total success. But that doesn’t mean he shouldn’t be appreciated for the attempt.
You might say he’s taking a long halftime walk…to Pandora.
Ang Lee pushes the boundaries of cinema to new limits in this Oscar-contending war drama/coming-of-age film.
Ang Lee’s long time production designer Mark Friedberg talks about having to relearn his craft to adjust for the hyper-reality of shooting at a 120 frames per second.
Lee’s enthusiasm for new visuals can’t silence disdain for “hyperreal images out of whack with the routine events that dominate the screen.”
Shot in 3D at 120 frames per second and 4k resolution, Lee’s drama doesn’t provide the strongest case for the approach, but it’s not a total loss.
Lee isn’t just pursuing a higher frame rate, he’s hoping to invent a whole new cinematic experience.
The Oscar contender, which premieres at the New York Film Festival in full force at 4K 3D 120 fps, offers a new hyper-real, big screen experience.
The film will have its world premiere on October 14.