When Tarantino and Rodriguez first created their ode to all things grindhouse with Planet Terror and Death Proof they also put out a word to their directing buddies who enjoyed the same things to make fake trailers to begin and break between the two films. They also created a contest where fans could create their own fake grindhouse trailer and the winner gets added to the dvd release. The winner of this contest was one aptly titled, Hobo With A Shotgun. While the trailer was ok it did introduce me to filmmaker Jason Eisener.
He has know followed up Hobo With A Shotgun with a horror shortfilm that has become the darling of the film festival circuit. His 16-minute short film is titled Treevenge and I will say that it’s one of the most original and inventive piece of storytelling and filmmaking of the year. This little shortfilm is why horror has its place in the filmmaking community as a way for aspiring filmmakers to get their creative juices flowing. This little gem of a film is also why I also love film in general. Little jewels like this make going through the awful films worthwhile.
For the complete uninterrupted short film click: Treevenge
I consider these the best and greatest science-fiction films of this closing decade. Some of the films in the list could be labeled as being hard scifi while some definitely have their roots in the pulp storytelling traditions of the 1950’s scifi publications and novels. Some could be considered horror while others more action or comedy. In the end, they all have a basis in the traditions of science-fiction as their common denominator. They will not be in any particular order since I couldn’t truly determine which one deserved to be top on the list or which was just 20th. In my eyes they are all equally great in their own way.
Do you agree with the choices? Do you think another film belongs on the list and, if so, which one? I’m interested to know what your favorite sci-fi films of the last 10 years happen to be.
“Everything is backwards now, like out there is the true world, and in here is the dream.” — Jake Sully
When was the last time a film became an experience for you—not just a story that made you think, but one that swept you up and immersed you completely? The most hyped film of 2009, and likely of this decade, was such an experience for me. James Cameron’s Avatar, a project over fifteen years in the making, more than lived up to the hype that followed it from the earliest production leaks.
Avatar is not the greatest film ever made, nor does it revolutionize filmmaking the way Technicolor did in the late 1950s and early 1960s. What Cameron has accomplished is providing a blueprint for how filmmakers can bring audiences closer to the stories they tell. Stories and ideas once considered unfilmable due to technological limitations are now within reach. Avatar is an experience that should be seen, regardless of whether one embraces its story. The narrative is not original—some may be reminded of an Oscar-winning film directed by Kevin Costner or an animated feature with “Gully” in the title. While the lack of originality is noticeable, the story works within the context of Cameron’s vision. Clichéd and hackneyed dialogue aside, it serves the film well. Cameron’s writing may not rival that of Kaufman or Mamet, but he knows how to tell a simple story and keep the audience engaged.
With that flaw acknowledged, I haven’t felt this way about a film—nor even the best I’ve seen this year—since the first time I watched The Fellowship of the Ring or, before that, Spielberg’s Jurassic Park. Only a few films truly sweep me into their world and hold me there. It didn’t matter that Avatar wasn’t the second coming of Rashomon or this generation’s Citizen Kane. What I watched, I fully bought into. The world of Pandora, imagined by Cameron and brought to life by WETA Digital and ILM, felt real. The detail, clarity, and dedication in its creation gave me hope that creative boundaries once thought uncrossable are now being stepped over.
While the film is also available in 2D for theaters without 3D capabilities, it must be seen in 3D, ideally in IMAX 3D. Cameron’s use of the new “emotion capture” cameras he helped develop achieves a level of CGI photorealism that avoids the “Uncanny Valley” effect seen in films like The Polar Express, Beowulf, and A Christmas Carol. The groundbreaking “mo-cap” technique, refined by WETA Digital for The Lord of the Rings trilogy, convinced Cameron it was time to make Avatar as he envisioned. The Na’vi are now the most realistic CGI characters ever put on screen, surpassing even Gollum. Cameron demonstrates that the limit of CGI use is not quantity, but how it is implemented. Lucas, Bay, and others who have misused CGI have much to learn from Cameron’s achievement.
It took a few minutes to adjust to the 3D effect, but once my eyes adapted, the film’s magic took hold. The distinction between CGI and live-action scenes blurred and eventually disappeared. Even the best CGI-heavy films sometimes break immersion, but Avatar never did. This total immersion helped me overlook the story’s familiarity and, for some, its ordinariness.
Despite the material, the performances ranged from good to excellent. The villains, while written one-dimensionally, were played with enough conviction to be believable. Giovanni Ribisi’s corporate weasel, a clear echo of Burke from Aliens, was cartoonish in motivation, but Cameron is not known for deep, well-rounded characters. The standout was Stephen Lang as Colonel Miles Quaritch. His scenery-chewing performance was riveting, stealing the film from Sam Worthington’s “hero on a journey.” While Lang’s performance may not win awards, it stands as one of the year’s most memorable, joining the ranks of characters audiences love to hate.
Some may think I’ve joined the Cameron fan club, but I can’t explain why I love this film despite its flaws: the familiar story, clichéd dialogue, and one-dimensional characters. Is Avatar just a technical and visual marvel? Yes, and more. Does the CGI and bombastic climax overshadow the storytelling? No, it actually propels the story forward, much like Jake Sully’s own fragile legs.
In the end, my love for Avatar comes down to the experience it provided—a rare occurrence in modern cinema. Cameron didn’t make a perfect film, nor one better than sliced bread. But he created a filmgoing experience that will be remembered decades from now, much like the first time audiences saw Star Wars and believed in Jedi and space battles, or Superman and believed a man could fly. Cameron’s Avatar made me believe in Pandora, a place I hope to visit, or at least experience through his eyes. I’m eager to see what he—and other filmmakers inspired by his work—will create next.
Through the Shattered Lens 