Happy Halloween!

To all of our readers, have a safe and happy Halloween!

Halloween Special Edition

In honor of Halloween, here is James P.'s review of the classic comedy Ghostbusters. It is not rated out of stars, because we all know it's a great movie!

Ghostbusters

Release Date June 8th, 1984

Rated PG

Ivan Reitman (dir.)

Bill Murray as Dr. Peter Venkman

Dan Akroyd as Dr. Raymond Stants

Harold Ramis as Dr. Egon Spengler

Sigourney Weaver as Dana Barrett

Rick Moranis as Louis Tully

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Ghostbusters

Review By John C.

On Halloween night, you could watch one of the many classic horror movies that have become part of the October syndication, or you could watch the classic supernatural comedy Ghostbusters. It’s got some cool special-effects, including a giant Stay Puft marshmallow man and a ghost named Slimer, and an intelligent story that actually makes you laugh (you can’t say that about a lot of comedies these days, can you?). It’s also got a lot of Canadian content, which is just more proof that some of the best comedy comes from Canada. There is almost no point of going into the story of three unemployed professors who go into the ghost removal service, or about the haunting of the apartment owned by Dana Barrett (Sigourney Weaver), by a creature named Zuul. If you get the collectors edition gift set of the DVD, you not only get the original classic, but also the sequel which is cleverly named Ghostbusters 2, also included with the two classics is a cool little scrapbook that has some insight into the making of the first film. Definitely worth having for any comedy fan, and also, you wouldn’t want to not know what to say if someone said to you “Who you gonna call?” Ghostbusters!

Four Fall Films (part 4)

Monster House

Release Date July 21th, 2006

Rated PG for scary images and sequences, thematic elements, some crude humor and brief language.

Gil Kenan (dir.)

Mitcgel Musso as DJ (Voice)

Sam Lerner as Chowder (Voice)

Spencer Locke as Jenny (Voice)

Maggie Gyllenhaal as Zee (Voice)

Jon Heder as Reginal ‘Skull’ Skulinski (Voice)

Steve Buscemi as Nebbercracker (Voice)

Kethleeen Turner as Constance (Voice)

Jason Lee as Bones (Voice)

Catherine O’Hara as Mom (Voice)

Fred Willard as Dad (Voice)

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Monster House Review By John C.

**** (out of four)

Monster House is technically and visually stunning, a feast for the eyes and the imagination. The story is packed with humor and excitement, which makes it a timeless Halloween classic. Even though it is animated I would not recommend it to anyone under at least 10, maybe older. But, what will likely scare young kids, is certainly going to mesmerize older ones. It is filmed using the method of Motion-Capture (Mo-Cap for short), in which they actually recorded the movements of live actors as a base for animation, and to make the characters movements more real and life like. It is by no means cheating in the medium of animation, because they still have to animate the backgrounds, and animate over the wire models that are created from the captured movements of the actors. Everything you see in this world is animated. The voice cast is perfect, including Maggie Gyllenhaal as the baby-sitter, and Jon Heder as an obsessed video game and comic book geek. Jason Lee is also there as the baby-sitter’s drunk boyfriend, and last but not least, Steve Buscemi as the old man named Nebbercracker, who owns the mysterious house across the street. The story is very interesting and compelling, and the three kids are actually believable in their roles. Director Gil Kenan was only 29 when he made this, and his newest feature City of Ember is also spectacular. I can’t wait to see what he comes out with next.

Soundtrack for City of Ember; an Interview with the Composer Andrew Lockington

Written By E. Corrado

When did you find out that you were scoring City of Ember, and how did it compare to when you found out about scoring other movies?

I got hired end of June, early July. City of Ember had a tight deadline, since it had a predetermined release date. With Journey to the Centre of the Earth, I had six months, so it varies.

What was it like working on this movie, and where did you draw your inspiration?

I read the book 1-2 years ago, I’m a huge fan of the book, and loved the idea of coming from a dark place, and going to a lighter one. In the music I tried to emanate that and I tried to make the back canvas a glimmer of hope. Lina, in the movie, is like the glimmer of hope who is going in a different direction then everyone else and ends up believing in something better, so I wanted to make her theme very uplifting and hopeful. Even before I had come on board, they had hired an orchestra, so I knew that there would be a choir, and quiet themes that would tell the story. It would start out dark, and become a sense of accomplishment and victory.

When you look back at other movies you have done, such as Saint Ralph, and Journey to the Centre of the Earth, how does ‘Ember’ compare?

Every movie is definitely different. What I loved about Ember is that it had a mix of action and real emotion, almost religious at times. You can find another emotional depth, which is multilayered, as opposed to two-dimensional.

When did you know that you wanted to be a composer?

Earlier on, I had three things that I wanted to be. A composer, an architect, or an airplane pilot. Now I know that I made the right choice by choosing composer. I had been composing since I was young. I was in a highschool band, but the band broke up, around the time that applications for university were due. I realized that I really liked movie music because the emotion for the movie develops over a period of time, and it is nice to be able to develop an idea over a period of 90 minutes, rather then 2 or 3.

Where did you study music?

Wilfred Laurier University in Waterloo ON.

When composing music, do you use a keyboard and computer to mix the tracks electronically, before it’s played by the orchestra?

I use Logic Audio, and make Midi mockups. The studios want to know how it will sound when it’s done. In the old days, you would write the piece on piano, play it for them, and then be telling the studio execs, ‘this here will be oboe, here french horns, and here timpani’, which would leave a lot to the imagination. I like doing scores because orchestra productions are so expensive, movie studios are some of the last places that have the money for that.

Are there any scores that you’ve done that you aren’t happy with and think you could have done better?

No thankfully, but there is always that fear of not doing it as well as you could have, then sitting in front of the orchestra and thinking, I could have done that better’, or ‘I should have done those eight bars differently’. But I think that is more like a kind of quality control.

What was your favorite part of doing the music for ‘Ember’?

Lina. I liked her character development. I wanted her strength and determination to parallel the story in music, since on screen she sometimes comes across as more quiet, and humble.

What was your favorite movie to write music for, and why?

It is hard to choose since they are all so different, but when I had the opportunity to listen to clips of them, I have to say, Saint Ralph, Touch of Pink, Journey to the Centre of the Earth, and City of Ember.

In City of Ember how did you come up with the theme that is played throughout the movie? (The one that comes through fully at the end, and on the last track of the soundtrack.)

I actually wrote it on an airplane flying back from a meeting with the director. I always carry manuscript paper with me, because I sometimes get an idea that I want to write down. I couldn’t get the theme just right, until finally I fixed that be changing it to 6/4 time.

How are the titles chosen for the soundtrack?

For City of Ember there was 80 minutes of music, and the soundtrack has 71. Some of the shorter cues become tracks combined in a suite. One thing I try to keep are the titles making sense in reference to that part of the movie for people who have seen it, while not giving too much away to those who have bought the soundtrack, but not seen the movie yet. Sometimes the titles are determined by the director, although I like to try to keep the original names.

Before the tracks have names, how are they referred to for the orchestra?

A lot of movies still have film on reels, and there will be 5-6 reels for the film, and about 15-20 minutes on each reel. They are numbered like 1-M-6, with the first number being the reel number, and the second number being the cue. So 1-M-6 would mean first reel, cue number 6. If there are only 6 cues on reel one, then the next reel would start at 2-M-7. When the second reel starts, the second number continues on where it is left off going from 6 to 7.

The reason for this is that sometimes they will rebalance the film, and make it be on five longer reels, instead if six. This way the musical cues always keep the same number association, even if the reel number changes.

When composing, do you have to watch, and make sure that you don’t have music running through the reel breaks?

That’s a good question. As time goes on and more movies go digital, it doesn’t matter. Some composers have started composing without the reel breaks now, but there are still many film theatres out there. I never play music through reel breaks, because at the theatre they will slice a few frames off of the reels, especially as they start to get beaten up at the reel breaks. I make it a point of having just over 2 seconds, before the end of the reel, and when it starts again about 1/2 second without music. This way the music doesn't get cut off for a second.

Since City of Ember was based on the first book in a set of four, if sequels are made, would you be doing, or willing to do, the music for them as well?

I would absolutely do all four. They have a magnificent story, and I was writing a theme that could evolve. At the end, it is the same melody, but a different incarnation. I would love to explore that further.

Can you tell us about any other upcoming projects that you are working on?

One Week, which opens in March 2009, and was at the Toronto International Film Festival.

The City of Ember soundtrack will be available in store November 4th, 2008, and was released October 21st, 2008 on iTunes.

Animation is a medium where we can create and escape to fantasy worlds. (Part 2)

Written by John C.

In animation, anything is possible. In 2006, Pixar animation studios brilliantly brought cars to life in their film Cars, one year later in Ratatouille, the same studio believably made a rat cook in a kitchen. Dreamwork’s has created the lovable and believable ogre, Shrek, and also made a tale of a Kung Fu Fightin’ panda. All of this proves that in animation, anything is possible. Take the newly released clip (link below) of Disney’s upcoming CGI film Bolt for example. It seamlessly creates what is easily one of the years best chase scenes.

Soon, almost all CGI movies will be projected in 3D, including Bolt, and all Pixar films starting with next years Up, and all Dreamwork’s movies starting with next years Monsters VS Aliens. The chase scene in itself is amazing in 1080p on the computer, but think just how awesome it will be in stunning 3D.

Surf’s up was created in the style of a surfing documentary, and the water was stunningly realistic. Other movies like Igor, are created in their own style. They aren’t trying for realistic. Both those movies have nothing in common, and shouldn’t be compared just because they’re animated.

Bolt, (opens November 21), from what I have seen, will have amazing action scenes, including The Chase. It was a smart move on Disney’s part to release that clip, because I know it’s going to get a lot of people excited. But still, it shouldn’t be compared to, say the upcoming Madagascar: Escape 2 Africa for example, just because their both animated. It could be compared to other chase scenes, and it is definitely one of the coolest.

I am looking forward to both Bolt and the Madagascar sequel. While I think Bolt will be better technically, I enjoyed the first Madagascar and I think the sequel will be at least as much fun.

As promised, here is a link to the amazing new clip of Bolt, entitled The Chase. Please watch it, and go see the movie on November 21.

http://www.apple.com/trailers/disney/bolt/

Four Fall Films (part 3)

The Wizard of Oz

Release Date August 25th, 1939

Rated G

Victor Fleming (dir.)

Judy Garland as Dorothy Gale

Mararet Hamilton as Wicked Witch of the West

Ray Bolger as The Scarecrow

Bert Lahr as The Cowardly Lion

Jack Haley as The Tin Man

Frank Morgan as The Wizard of Oz

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The Wizard of Oz Review By John C.

**** (out of four)

The Wizard of Oz has stood the test of time. While the special effects were excellent for the time, they now seem a bit outdated. But, it still stands up as one of the best family films of all time, that every kid should see. It has become a classic that gets rapid play on TV stations around this time every year, in honor of Halloween, but you should really get a DVD so you can enjoy it fully restored and without commercials. If you have kids, you should really let them see it if they haven’t already. If you’re worried about it being too scary, What kid doesn't have fond memories about being freaked out by the flying monkeys? Besides, the singing Munchkins should be enough of a redemption.

The Secret Life of Bees

October 17th, 2008

Rated 14A Language may offend, disturbing content.

Gina Prince-Bythwood (dir.)

Dakota Fanning as Lily Owens

Queen Latifah as August Boatwright

Jennifer Hudson as Rosaleen Daise

Alicia Keys as June Boatwright

Sophie Okonedo as May Boatwright

Paul Bettany as T. Ray Owens

Hilarie Burton as Deborah Owens

Tristan Wilds as Zach Taylor

Nate Parker as Neil

Our reviews below:

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The Secret Life of Bees Review By John C.

*** (out of four)

The Secret Life of Bees is a powerful and emotional story of friendship brought together by solid acting from the entire cast. The story revolves around 14 year-old Lily Owens (Dakota Fanning) who holds a terrible secret and still feels guilty about something that happened ten years prior when she was 4. We find out what happened in flashbacks during the movie, as we are led on a journey rounded out by well-played characters. She eventually ends up finding the Boatwright sisters who are nice enough to let Lily and her caregiver Rosaleen (Jennifer Hudson) stay for a while. The Boatwright sisters are in the honey business, and their bright pink house would be pretty hard to miss. Soon, the past that she left behind comes back to haunt her, and she starts to feel as if she's just making everyone else's lives worse.

Some of the lines are a little silly, and if you don’t like a deeply emotional drama, then it’s probably not for you, but if you loved the book (which I am now interested to read having seen the movie) you will probably like it.

The acting is great, and is probably one of the best things about the movie. The story is compelling, and keeps you interested in the characters lives. I would recommend people see it, even if only on DVD. But, if you are looking for something dramatic, but still uplifting to see at the theatres, then you should go see it.

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The Secret Life of Bees Review By Erin V.

***1/2 (out of four)

The Secret Life of Bees is based on the book of the same title by Sue Monk Kidd. Although I didn’t read the book before seeing the movie, I am interested in reading it now. From what I know of the book, this movie seems to be close to it. I would have preferred to read the book first, like I had with City of Ember, since then I can review based on the comparisons. Unfortunately, I have only read the first six pages thus far, since that is all that you can preview on amazon.com. I will have to read the book to know for sure, but it seems like a good adaptation.

The story is about Lily Owens, (Dakota Fanning), a 14 year old girl in 1964 who has always been haunted by the memory of a tragic event when she was four. She lives with her abusive father T. Ray, (Paul Bettany), who with the help of hired hand Rosaleen, (Jennifer Hudson), takes care of her. Rosaleen wants to register to vote, since the Civil Rights Act has just been passed. She takes Lily into town with her, where they are faced with a group of bigots who attack them. Eventually these events lead up to Lily running away with Rosaleen. With no idea where to go, they stop so that Lily can buy them something to eat. At the store she notices jars of honey with a picture of a African American representation of the Madonna on them. She asks the store owner about them, and he tells her where to find August Boatwright, (Queen Latifah), the woman who runs the honey business. When Rosaleen, and Lily show up at August’s door, they meet her two sisters, May, (Sophie Okonedo), and June, (Alicia Keys). Eventually, Lily convinces them to let her and Rosaleen stay for a little while, since they have nowhere else to go.

I enjoyed this movie. It had a compelling enough story line to keep me interested, and it really felt like it was in the sixties. This movie is a drama about acceptance, of both yourself and others. It was well done, and especially with the talented cast of actors, this movie worked and is well worth seeing. _____________________________________________

The Secret Life of Bees Review By Nicole

*** (out of four)

It is a rare treat to have a drama about strong female characters, which is the case with The Secret Life of Bees. The movie starts out with a flashback to when Lily is 4. She witnesses a fight between her parents, which results in the accidental death of her mother, leaving Lily with her cruel, abusive father. The movie then flashes forward 10 years to 1964, when Lily is 14. The South Carolina civil liberties act is now coming into effect, which will allow African American people to vote. The family maid, Rosaleen, is going into town to register to vote, and she takes Lily along with her. But after Rosaleen gets beaten and arrested, and Lily’s father won’t help, Lily breaks out Rosaleen and they decide to run away to a honey farm. There they meet the Boatwright sisters, May, June, and August, three African American women who run their own honey business. Lily and Rosaleen fit right into the Boatwright home, and they practically become part of the family. Lily feels at home in her new community, and even has a tender young romance with a neighboring boy named Zach, who works on the honey farm. But discrimination against African Americans still abounds, which results in tragedy. But even through hard times, Lily, Rosaleen, and the Boatwright’s have faith, and their family is stronger then ever. This is a wonderful movie about faith, family, and not giving up. A tearjerker at times, but nonetheless a nice, feel good movie about friendship.

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The Secret Life of Bees Review By Maureen

*** (out of four)

‘Secret Life of Bees’ is a compelling drama based on an adaptation of a book by the same name by Sue Monk Kidd. The story is set in 1964 Southern Carolina at a time when the civil rights act was being passed and African Americans were given the right to vote.

The movie opens with a dramatic flashback scene ten years earlier involving main character Lily Owens, (Dakota Fanning), and then moves to 1964 with Lily about to turn 14. Events unfold and Lily and her African American housekeeper Rosaleen, (Jennifer Hudson), run away to escape abuse and racial violence. They make their way towards Tiburon, South Carolina and the Boatwright Sisters’ Bee Farm and their bright pink house. There we meet the Boatwright sisters, August, June, and May. They take Lily and Rosaleen in and the relationship between the five lead female characters takes shape.

This is a mature drama with scenes of physical abuse, racial violence and suicide. It’s saving grace is the joy and laughter and many touching moments that take place between the five women at the pink house, and through their work on the bee farm. All five lead female actors give believable and strong performances. Dakota Fanning in particular gives a solid, mature performance. The story line has strong messages about tolerance, love and support, and strength through prayer, in particular devotion to the Virgin Mary. Overall, the good far outweighs the heavy subject matter in this movie making it a very watchable story.

If you can’t make it to the theatre to see this one, make sure to catch it on DVD once it’s released. It would also be worth checking out the book. I intend to read it. Keep in mind that the movie rating of 14A is appropriate. I wouldn’t show this one to children. When you do watch it, keep the tissues handy. You’ll likely need them.

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The Secret Life of Bees Review By Tony

*** (out of four)

The Secret Life of Bees is set in rural South Carolina in 1964, just as the Civil Rights Bill is coming into effect. There is tension right from the opening scene, a hazy ten year flashback where the four year old Lily Owens (Dakota Fanning), having been awakened by a violent quarrel between her parents, had picked up a gun and accidentally killed her mother. As a young teenager, Lily is miserable on the peach farm of her mean embittered father (Paul Bettany). Lily and her servant Rosaleen (Jennifer Hudson) run away after Rosaleen is beaten for defying a group of local bigots on her way to register to vote. They are taken in by the three Boatwright sisters, August, May & June (Queen Latifah, Sophie Okonedo, & Alicia Keys), who have a successful honey business. The Boatwrights and other local women revere a black Madonna figure salvaged from a shipwreck, which gives them comfort and inspiration. Eventually, as life goes on in this welcoming environment, Lily is able to deal with her past.

I enjoyed The Secret Life of Bees, a good film with an excellent cast all around, though I occasionally found the dialect hard to understand above the background noise. The loving feminist atmosphere of the Boatwright farm contrasts sharply with the civil rights struggle going on around it. In one memorable scene, Lily goes to a movie with the hired hand Zach (Tristan Wilds), who has to go in by the “Colored” door since the “White” door is still [now illegally] being guarded by more stick-toting bigots. Sitting together inside, Lily and Zach are subject to disapproving stares, mainly from blacks. It isn’t long before Zach is beaten and dragged out by the white “guards” as the local police look the other way.

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Consensus: Based on the book The Secret Life of Bees by Sue Monk Kidd, this is a compelling and emotional drama that successfully brings you into the story, especially thanks to the well rounded cast of actors. *** (out of four)

To Animate or Not to Animate, and if So, How?

Written By E. Corrado

Animation is prominent in movies now more then ever. And not just in animated films. As is now well known, CGI graphics are used commonly in live action films as well for special effects. In fact the first ever fully animated character as part of a special effects effort was the Stained Glass Knight in 1985, which took over four months to create at Industrial, Light and Magic, for Young Sherlock Holmes.

Since then, the field of using animation as a means to special effects has skyrocketed. The majority of action films use at least some element of CGI to do things that would be otherwise too difficult, or dangerous. Some movies are taking this to a new extreme. Speed Racer which came out last May was, amazingly, human actors in a completely CGI world. The effect is very cartoonish and futuristic, yet interesting in a way.

Another debate in the world of animation is whether or not Motion Capture technology is ‘cheating’. I honestly don’t think so. CGI uses Key Frame Animation filling in the frames that would have been otherwise drawn by hand. Motion Capture captures the movements of the actors, and then transfers that data into the computer. The textures, and backgrounds are added in later through animation. The animators can also modify some of the data that is put in, i.e. to change movements, if they so wish. I consider Motion Capture to be an extension of the medium, and a kind of blend between live action and animation. It’s something that can reap benefits from both.

Claymation, or other elements of Stop-Motion techniques, are also forms of animation, and not any lesser forms. Stop-Motion can be done simply with a camera on a tripod, taking consecutive pictures of an object that is being moved one step at a time, or can be used for a full movie such as the brilliant Chicken Run, or Wallace and Gromit: Curse of the Were-Rabbit, both made by Aardman. These were both traditionally Stop-Motion animated through Claymation, although Flushed Away, their latest feature-length film, was done with CGI instead. The thing is, that the CGI was done in such a way that it appeared to be Claymation, complete with fingerprints.

Animation is universal, and is used universally in all kinds of ways. It doesn't matter how it’s done, so long as it benefits the story. As is the origins of the word animation, it comes from the Latin animatio(n-), from animare; ‘instill with life’. And that should be the goal of all movies - to present a story that is full of life, and presents itself as such to the viewer.

Want to read my last installment from two weeks ago? Click here.

Happy Thanksgiving!

To all our readers in Canada, have a Happy Thanksgiving Day.

Four Fall Films (part 2)

Wallace & Gromit The Curse of the Were-Rabbit

Release Date October 7th, 2005

Rated G

Nick Park and Steve Box (dir.)

Peter Sallis as Wallace (voice)

Helena Bonham Carter as Lady Tottington (voice)

Ralph Fiennes as Lord Victor Quartermaine (voice)

Nicholas Smith as Rev. Clement Hedges (voice)

Liz Smith as Mrs. Mulch (voice)

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Wallace & Gromit The Curse of the Were-Rabbit Review By John C.

**** (out of four)

Since their small screen debut in 1989, audiences have loved the crazy inventions of Wallace and the sense and sensibility of his dog Gromit. In Curse of the Were-Rabbit, their big screen debut, none of the charm of the original short films is lost. It tells the story of Wallace & Gromit’s newest business venture, Anti-Pesto Humane Pest Control. They capture bunnies out of people's gardens so the pesky rabbits don’t eat their crops of giant vegetables, which they grow every year for a harvest festival in hopes of taking home the top prize of the 24 karat-carrot. But, when something goes wrong, they end up with an even bigger problem on their hands. A giant Were-Rabbit starts to ravage their crops, and this time it’s proving to be too big a job for Anti-Pesto. It is worth multiple viewings, so even if you’ve seen it before, it’s worth seeing again.