What makes a good movie

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What makes a good movie

At the heart of nearly every movie of the subgenre is the question of whether or not violence can ever really be seen as excusable or, more pointedly, as a useful deterrent to crime or a recourse for violence.

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And yet, any great movie depends on an empathetic lead, even if their actions are unforgivable and their outlook on life is pickled by cynicism.

In the very best cases, the resulting movie is a psychological portrait of a modernized man or woman making their living off of the destruction of other lives. And like the figure of the prostitute, the role has immense power and implications as a symbol of the capitalistic philosophies and spirit that thrives in America and other first-world nations.

Image via Paramount It helps when the lead performer connects with such a compromised and alienating character. In Collateral, Michael Mann got at a different side of Tom Cruise, not exactly the same smiling man of action.

A, inverted that image. With the faintest shift in conversation, he adopts a clinical, even bureaucratic temperament, underlined by a furious need for control of his environment. For Cruise, who is notorious for essentially usurping filmmakers and directing many of his starring vehicles by himself, the reflective substance of the performance, which volleys between seemingly friendly small-talk to furious or detached violence, is potent.

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Though the long-surviving resurgence of assassin and hitman tales in movies owes its popularity to Jules and Vincent in Pulp Fiction, similar characters are cornerstones of some of the best movies of past decades, going all the way back to the s.

And yet, most movies that take the hitman or assassin as their subject are often not entirely interested in dissecting the mental, physical, or philosophical make-up of a human being who makes their living by killing other people.

What makes a good movie

In the worst cases, the inherent mystique of such a character gives way to a cynical kind of hero-worship, a sense that apathy toward human life is cool even when its results are brutal or tragic. Image via Paramount Vantage Even these preening shoot-ups are preferable to an increasingly popular strain of moralized killers.

Plenty of the talk in In Bruges centers on the moral weight of the work but it remains little more than talk. The only more reprehensible dynamic is the earnest route, such as in something like Colombiana, wherein the sadism of the violence is heightened more than the heroism or the narrative world on the whole.

The end result of such narratives is not only the legitimization of vigilantism for money or otherwise, but depicting execution with prejudice as central to justice. The only positive aspect of Colombiana is that it gives Zoe Saldana a full showcase for her talents, as much as an action star with reliable physicality as a dramatic powerhouse.

This is clearly also what drives a movie like Proud Mary as well, a project that might have really popped under more imaginative direction than that provided by London Has Fallen director Babak Najafi. Indeed, what is often missing from these movies is a director with any sense of distinct style to offer a glimpse at the interior life of the protagonist outside of the limitations of performance.

Chinese helmer Johnnie To often centers his films on professional killers, and his extravagant use of fight choreography and expressive editing matches the ludicrous high personal and mortal stakes of the drama. In Exiled, his knockout, he renders a gunfight into a gravity-defying ballet of bodies twisting around the path of flying bullets.

Image via Miramax Melville took an opposite approach in Le Samourai. The entire world of the gangland loner of the title seems drained of warmth and caring, but is no less hypnotic and alluring. Melville gets at the loneliness of the work, the isolation that it demands and the glossy but empty rewards of being a hired executioner.

Wita better script, John Wick might have been in that same category but that movie is openly more about the drive that vengeance affords along with fleeting satisfactions. Few of these films have genuine character outside of that proffered by the lead actors, and even in that case, the performers rarely find something personal to attach to in the script.

Grosse Pointe Blank is the rare exception to this rule. For John Cusack, the role of Martin Blank reflected a need to kill off the cute young man of the s comedies, and a sly criticism of the base characters he was playing up until then.Because commercially successful films like the Avengers aren't very good movies, but make a fortune, but Beast of the southern Wild, Compliance, Sleepwalk With Me, which made profits are generally not what are termed commericially successful.

What Exactly is a B-Movie? Although there are many differing opinions as to what a b-movie actually is, there is only one real technical definition to the term.

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The actual technical definition is that a b-movie was the second movie on a double bill. Chris Cabin considers what precise narrative elements and directorial moves make for a good hitman movie, whether it be 'Collateral' or 'Proud Mary'.

Grease was the word when this movie came out in , and the word is still alive and well today, as evidenced by the movie's ever-growing legion of fans.

What makes a good movie

In fact, it's the most profitable movie musical of all time, whose biggest hit, "Summer Nights," remains a standard at weddings, karaoke parties, and dances. That’s why this week’s blog is all about what makes a good CD or DVD cover, and we’ve collected some ideas that will hopefully help First of all, it’s very important to choose some great colors.

Nov 14,  · A good reviewer helps people find movie's they will like. Since you don't have the same taste in movies as everyone else, you need to be able to tell people if they will enjoy the movie, even if you didn't. Read a lot of movie reviews, and think about 81%().

What makes a good horror movie teaser trailer by Sophie Cummings on Prezi