Categories
Animation Features Movies

The Iron Giant

Director – Brad Bird – 1999 – US – Cert. U – 88m

*****

1957. A giant robot falls out of the sky and is befriended by a young boy in Maine. However, the US government proves less sympathetic – animated feature is out in UK cinemas from Friday, December 17th, 1999

This has all the hallmarks of classic fifties sci-fi outings – giant monster, small American town, paranoid government agent, mobilised militia. For those demanding still more, it has a single working mum and a sympathetic beat sculptor, neither of whom would be out of place in a period Roger Corman cheapie.

But you shouldn’t pigeonhole The Iron Giant by genre because a further two factors mark it out as very different. Freely adapted from Ted Hughes’ marvellous children’s book The Iron Man but given a decidedly American spin by director Brad Bird (cartoon TV series The Simpsons, 2 eps, 1990-91; creator of Family Dog, 1993), this is without doubt the animated film of the year and arguably the film of the year period. We’ve grown so used to the Disney blockbuster model – cute characters (and merchandise), hit songs – that anything else (this employs neither device) comes as a shock.… Read the rest

Categories
Features Live Action Movies

Oppenheimer

Director – Christopher Nolan – 2023 – US – Cert. 15 – 180m

*****

Drama about the father of the atomic bomb, shot with IMAX cameras and best watched in IMAX 70mm format – out in UK cinemas on Friday, July 21st

There are certain hallmarks to Christopher Nolan’s feature length movies. Since The Dark Knight (Nolan, 2008), his second Batman movie, he has been shooting a proportion of each one with IMAX cameras. Seen projected on a screen the size of three double-decker London buses at London’s BFI Waterloo IMAX, these are larger than life experiences in a way that movies shown in the viewer’s own home on a screen, even a large one, can never be. And while Nolan is interested in character and performance, most of his movies in the IMAX format, even the historically inspired WW2 movie Dunkirk (Nolan, 2017), contain memorable action, exploiting the vastness of the IMAX screen to great kinetic effect whether it’s Batman roaring along on the Batbike, co-conspirators free floating inside a falling transit van in Inception (Nolan, 2010) or British WW2 soldiers trapped inside a flooding ship.

There is, however, a problem with watching Nolan’s IMAX-intended films in a lesser theatrical cinema format: the framing.… Read the rest