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"Voir" premieres today on Netflix.Home design software for pc and mac | interior design and, Offers 3d home design suite for professional home planning with real model technology.
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Although “Voir” as a whole is ultimately worth a look, “Profane and Profound” is ultimately the keeper of the bunch and if another series of episodes comes along, here's hoping that future contributors will look towards it as an inspiration for their own efforts.Īll episodes of season one screened for review. Chaw’s analysis of the film and its impact on him merges the critical and the personal in smart, incisive ways that will have most viewers reaching for their copy of it as soon as the episode is over. As a passionate fan of Hill and his often-stunning, if sometimes overlooked, body of work, it's refreshing to see this film analyzed as more than simply the progenitor of the buddy cop subgenre that would emerge in its wake. The film continues to pack a punch nearly 40 years after it first burst on the scene and transformed Eddie Murphy into a superstar unlike any that Hollywood had ever seen. On the other hand, the more impressionistic moments illustrating the young Stone and her sister getting lost in the magic of the movies over that summer are striking enough to make one wish to see an entire feature film along those lines.Īs it turns out, the best and most interesting episode of “Voir” is the final one, “Profane and Profound,” in which Walter Chaw examines Walter Hill’s 1982 hit “48 Hrs”-which he saw for the first time when he was in the third grade-as a still-audacious examination of systemic racism. The most curious of the episodes is “Summer of the Shark,” a more overtly autobiographical episode in which Sasha Stone juxtaposes her own coming of age in the mid-Seventies with the how the film industry shifted to a more blockbuster-heavy emphasis following the staggering financial success of Steven Spielberg’s “ Jaws.” On the one hand, it doesn’t really offer much in the way of new insights on the topic of Hollywood’s move from telling stories to creating pre-packaged events, and the one interesting notion raised-the way in which this move tended to treat young female moviegoers almost as afterthoughts-gets a little lost in the shuffle. Although intelligently executed, it does not really add anything new to the discourse on this particular topic, though it does allow for the inclusion of clips from a number of Martin Scorsese films along the way.
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Takedown,” a more compact dry run of the same story that he made as a TV movie six years earlier, are juxtaposed to illustrate the different approaches applied to the same material in their respective formats.Īmong the other episodes, “But I Don’t Like Him” finds Drew McWeeny utilizing his conflicted views regarding “ Lawrence of Arabia” as a leaping-off point for an examination of narratives that we find to be fascinating despite-or perhaps because of-the unlikable nature of the protagonists driving them. The essay only really comes alive during the section in which clips from Michael Mann’s 1995 crime epic “Heat” and “L.A. Television” is a glib, not-especially insightful look at the shared history of the two competing formats and how the once-distinct lines between them have blurred in recent years. This segment is not especially revelatory but it does lay out its arguments in a solid and straightforward manner that both film experts and comparative novices should find watchable. “The Ethics Of Revenge” utilizes Park Chan-wook’s brilliant and brutal “Lady Vengeance” as a vehicle to explore both the unending fascination we have with narratives driven by the need for revenge and the storytelling tricks and tropes utilized by filmmakers in the hopes of evoking a response from viewers without tripping over into outright sadism.
Blending together history, criticism (especially in regards to the ways in which female characters tend to be developed) and a look at the actual filmmaking process, this is both the best of their contributions and one of the very best of the entire series. “The Duality of Appeal” utilizes expert testimony from Brenda Chapman and Gil Kenan to help explore the dynamics of design, in terms of how animators strive to make visually appealing characters and how CG animation has altered the landscape in that regard. Three of the episodes come from Taylor Ramos and Tony Zhou, who have done a number of visual essays in the past under the name Every Frame a Painting and whose efforts here tend to follow a more traditional and historical-minded approach to their subjects with mixed results. The six episodes cover an array of topics, ranging from broad examinations to close analysis of specific films the approaches similarly veer between the straightforward to the deeply personal.
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