Big George Foreman (12): A "Lean, Mean, Grilling Machine"... but mostly boxing.

#onemannsmovies review of "Big George Foreman" (2023). #ForemanMovie. Solid but staid telling of a remarkable life story. 3.5/5.

A One Mann’s Movies review of “Big George Foreman” (2023). (The full title is “Big George Foreman: The Miraculous Story Of The Once And Future Heavyweight Champion Of The World”, but who on earth can be bothered with that!) “Big George Foreman” is a biopic on the remarkable true story of the boxing champ George Foreman. And it really is an incredible tale. Being of a certain age, I was…

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why would he say this??? 😭😭🤬

Kermode & Mayo's Take Podcast Set to Launch commentary Episodes

Kermode & Mayo's Take Podcast Set to Launch commentary Episodes #filmpodcast #MarkKermode #SimonMayo @kermodeandmayo

When Simon Mayo and Mark Kermode announced they where leaving the BBC, shocked their fanbase. There was a sigh of relief when weeks later Kermode & Mayo’s Take Podcast launched on popular Podcasting sites. Simon Mayo and Mark Kermode are offering their subscribers the chance to watch a series of classic and not-so-classic films along with them, with the launch of their new series of commentary…

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Benjamin

Dir. Simon Amstell; Wri Simon Amstell

Filmmaking is indubitably hard. This reminded me of how tricky it is through the main character’s exhibition of his second, poorly received second feature at the LFF - a film about his inability to love, with added monk. It’s films like these that remind me to applaud anyone who can make any film - at all.

The film itself and the film within the film have a satisfying mirroring of each other that made me care all the more for Benjamin. When he gets together with the guy he fancies it made me realise that. Colin Morgan is really great as that character; I think it’s how he acts with a complete lack of self-consciousness. I don’t think his suspicious resemblance to Simon Amstell himself, in both appearance and as Benjamin, is meant to be too camouflaged by the witty and romantic aspects of the script. 

I was impressed I was won over so quickly as when it finished I realised that I had gone in somewhat suspicious. I don’t know why. It was unfair to the entertainment value of the film.

Not sure if you've seen this:

https://mobile.twitter.com/kermodeandmayo/status/1520704585777754113

We'll have to keep our ears peeled for the podcast!

put the rest of clarisse loughrey’s reviews up on the kermodeandmayo channel you cowards

Use of off-screen space and mise-en-scene in the witch

Robert Eggers’ The Witch (2015) –

Robert Eggers’ The Witch (2015) is a 1630s New England Folktale about a family who is torn apart by the acts of witchcraft after the youngest son Samuel vanishes. Throughout the film, the members of the family all face death whether it’s by black magic or possession, apart from Thomasin who throughout the film is accused of being a witch herself. After the loss of all her family she has no choice but to join the coven.  I will analyse a specific scene from Robert Egger’s The witch, which I believe best demonstrates the use and effect of off-screen space and mise en scène. The scene I have chosen to analyse which shows examples of both off screen space and mise en scène, is towards the end of the movie when the hidden antagonist, Black Phillip (the goat) reveals himself to Thomasin.

The dark setting in the final scene of The Witch helps create a lot of off-screen space as it’s hard to see what is happening especially around Thomasin. The off-screen space creates a horror-like atmosphere for the viewer as the fear of the unknown develops; this then makes the spectator become active as they then take part in the film instead of being a passive viewer. The first shot is of Thomasin waking up after witnessing the deaths of her family and the murdering her mother; The scene then leads to Thomasin walking towards Black Phillip which Thomasin, along with the audience, now realises is the antichrist. This is evident through the form that he takes, which is a black goat. Goats have always been associated with the devil from stories and folklore surrounding Baphomet, a satanic deity which is best known from the 1956 illustration featured in Eliphas Levi’s book, Transcendental Magic: Its Doctrine and Ritual. (Eliphas Levi, 1854, Dogme et Rituel de la Haute Magie)

The mise-en-scene used in this scene has a location and setting of the woods which is a typical convention of horror films. The use of the woods in this first shot represent the entrapment of Thomasin in this scene; She is entrapped by the antichrist and the act of ’selling her soul’ to him. The fact that the scene is set at night helps create a sense of danger as dark colours and shades signify death and the unknown (reflecting on the use of off-screen space and the fear of the unknown). The Witch uses the 1:66:1 aspect ratio which gave extra height to the shots, allowing the director to let the trees loom over the characters which adds to the feeling of entrapment.  (Chris O’Falt, IndieWire, Mar 2, 2016)                                                                                                                                             In addition, the costume worn by Thomasin, for example the muslin cap, is dated which connotes the films historical setting. The use of costume throughout the film also shows the development in Thomasin’s character; throughout the film she is seen wearing a typical white gown and muslin cap of that time, also signifying her purity, which then advances to her clothes being ripped and her hair down as a result of the events that unfold which destroy all sense of the purity she once had. This could also reflect the themes of puberty and femininity in the film; the literal change in her appearance shows the change in her character as she progresses into a woman and discovers her true self.

The lighting used in the goat hut is from the candle Thomasin was holding in the scene prior. The use of candle light instead of daylight or moonlight creates a more satanic atmosphere as one would associate with a stereotypical ritual as seen in tv and film. The lack of light the candle gives off could also symbolise Thomasin’s mental state; the light automatically creates more off-screen space as you, the viewer, can’t see what Thomasin is looking at or what is happening around her. You could argue that Thomasin has lost all sight of what is real, which is reflected by the lack of her surroundings. The fact that we can’t see what Thomasin is looking at off-screen or what’s behind her makes us doubt that this is real, especially due to previous scenes, e.g. when the mother hallucinates her children coming back, this supports the argument to whether the scene is all in Thomasin’s head or not. The darkness surrounding her whilst she’s in the goat hut carries the feeling of entrapment made by the trees throughout the film, however the darkness is more intense suggesting that there is more danger and evil inside the goat hut than there is outside in the forest. It also symbolises the fact that the darkness is consuming her as she writes her name in the book and sells her soul to the devil – after she signs her name the shot cuts to her walking into the woods followed by Black Phillip with darkness engulfing almost all the frame therefore suggesting that all the purity she once had has gone and that darkness has won. The only other source of lighting in the final scenes is from the fire which the coven is dancing around. In this context the fire symbolises hell and the act of the witches dancing around the fire could represent them worshipping the devil. Fire also symbolises destruction and transformation; destruction of Thomasin’s family after they’re all tormented by the witches and the transformation of Thomasin herself as she develops through into adulthood.  

As the scene progresses, the devil says, “would thou like to live deliciously?” relating back to The Garden of Eden described in the Book of Genesis 13:10, In the Garden of Eden, Eve is drawn into temptation by the devil (in the form of an animal) by eating the forbidden fruit which results in Eve’s purity being destroyed. The devil then says, “remove thy shift” in which Thomasin removes the rest of her clothing, referring to the nudity of Eve and symbolism of exposure in the Bible which is associated with sin and shame. (AllAboutGod.com, accessed on: 11/2018) This theme is presented throughout the scene when we see the rest of the coven who are also naked for as they have already given into temptation.

In the final scene, Thomasin along with the coven start floating up into the sky surrounding the fire. Flying is a metaphor for sexual maturity which is a common theme throughout the film shown through themes with Caleb struggling with puberty. Flying in dreams serves as a sort of escape from the pressures of the real world – the world that Thomasin is escaping by joining the coven. All of the witches and Thomasin are equal in the coven which is a contrast to the non-existent equality amongst Thomasin’s family. The final shot in The Witch shows Thomasin floating at the top of the trees almost recreating the image of Jesus’ crucifixion, another biblical story surrounding the theme of sins.

In conclusion, Robert Eggers’ uses mise en scene to add more emphasis to the off-screen space producing a more ominous atmosphere to the scene therefore creating fear amongst the audience. The aspect ratio that Eggers uses helps to emphasise the mise en scene of the setting and location which were used to create the feeling of entrapment therefore resulting in the audience feeling unsafe and uncomfortable, which is what horror films are meant to do.  Off-screen space is a common aspect of the horror film genre as it forms the horror film trope of the fear of the unknown. The off-screen space is expanded due to the low lighting so less is seen, this makes it a successful horror as the audience is forced to feel tense and frightened.

Bibliography:

·        Youtube, kermodeandmayo, Mar 11,2016, accessed 11/18 ,< https://www.youtube.com/watch?v=RctnAS3v-9Q>

·        AllAboutGod, N/A, accessed 11/18 <https://www.allaboutgod.com/garden-of-eden.htm>

·        DenOfGeek, David Crow, Oct 18, 2018, accessed 15/11/18 <https://www.denofgeek.com >

·        SlideShare, H, Rebecca, Feb 7, 2017, accessed 19/11/18 < https://www.slideshare.net/RebeccaIH/the-witch-71860972>

·        IndieWire, Chris O’Falt, Mar 2, 2016, accessed 19/11/18, < https://www.indiewire.com >

·        BBC News, James Morgan, 1 Aug, 2015, accessed 19/11/18, < https://www.bbc.co.uk/news/magazine-33682878 >

·        The Witch, 2015, 1h 27m/ 1h 30m

·        Youtube, User, June 16th 2016, accessed 10/11/18,<https://www.youtube.com/watch?v=HKHnVkAMiyg >

·        Eliphas Levi, 1854, Dogme et Rituel de la Haute Magie, Martino Fine Books

Hello @reocinema illustrated for @stokeylitfest anothe lil blast from the recent past to join its fellow buildings on the #mapmymcr - tour! #lettering #illustration #typography #cinema @kermodeandmayo #type #stokeylitfest #archisketcher

These are some YouTube film channels I like.

Kermode and Mayo’s Film Review

https://www.youtube.com/user/kermodeandmayo

Chris Stuckmann

https://www.youtube.com/user/ChrisStuckmann

The Flick Pick

https://www.youtube.com/user/theFLICKpick

Altitude Associated Lacrimosity Syndrome: A new disease entity

Journal of Altitudinal Studies: Published: December 16, 2015DOI: 11.1270/journal.pone.022123

Derek Brooks, Nima Ghadiri, Adrian Pasadero, Ha-Seok Ju, University of Dartchester, Springfield, Illinois

Abstract

Background:

Altitude-Associated Lacrimosity (also spelt lachrymosity) Syndrome, also known as AALS, is a novel condition first described in the United Kingdom BBC Radio Show “Kermode and Mayo’s Film Review”.  It is one of a trial of lacrimosity syndromes, alongside pregnancy-induced lacrimosity syndrome (PILS) and hotel-induced lacrimosity syndrome (HILS). However, AALS is considered to be the common and fierce of the three conditions.

The postulated mechanism comprises a combination of factors: Mild brain hypoxia induced by the lower partial pressure of oxygen at altitude, the pressurized cabin atmosphere, confined space producing a more intense viewing environment, and the potentiation of these effects by alcoholic beverages.

Objective: To identify the extent by which AALS increases lacrimosity  

Methods:

6 films were chosen at random from the 2011-2012 year: Happy Feet 2, Spring Breakers, John Carter, Real Steel, Just Go With It, Kung Fu Panda 2

10 subjects watched these films at ground-level and at altitudes of greater than 30,000 feet.  The modality of first viewing was randomised. 10 controls watched the films at ground level. To removing confounding factors, none of the subjects were pregnant, or in hotels when watching the films.

The amount of lacrimation was measured using a special paper strip (used in the Schirmer test) over the course of the film.  

Results:

Average lacrimation at altitude was 5.6 times more than at ground level for the six films identified, as measured by the amount of paper wetted during the films.

Conclusions:

Altitude Associated Lacrimosity Syndrome is a real and severe entity, and is brought about by a number of factors. Passengers may need to be made aware of this condition prior to watching films, and take rest-breaks within films to avoid embarrassing or debilitating hyper-lacrimosity.

Mark Kermode reviews Summer in February (by kermodeandmayo)

Wittertainment at its most wittertaining. 📖 #wittertainment #hellotojasonisaacs #kermodeandmayo #HTJI (på/i Alströmmergatan 45)

A Hijacking reviewed by Mark Kermode (by kermodeandmayo)

Bernie reviewed by Mark Kermode (by kermodeandmayo)