“Serious” films tend to depict fantasy as something untrustworthy and off-kilter, resulting in movies where the inability to distinguish between the grubbily realistic and the overtly fantastic is a sign of a character’s mental instability or immaturity or the like. Get your tickets now ➡️. Not a single film in 2012 came close to exploring this dichotomy more overtly, or more effectively for that matter, than Beasts of the Southern Wild, a film that combines a prototypically realistic aesthetic of hand-held camerawork in an exceptionally tactile physical environment with the distorted view of a six-year-old girl named Hushpuppy, played by Oscar nominee Quvenzhané Wallis.
Get your tickets now ➡️. How does 50 hours of new, fresh content sound at less than a buck an hour? Well, we’re not 5 dudes in a room talking about our passion for Fight Club and Braveheart. It's a site about discovering good movies... one bad movie at a time. They are as close to perfect polar opposites as two films could be, except that I, personally, feel almost exactly the same way about both of them: totally satisfied and utterly let down. I’ll let that question be the entry point to our final pair of movies, which address the same subject from very different perspectives about how much real-life should be in films. The appeal of Peter Jackson’s films of J.R.R. Not a single film in 2012 came close to exploring this dichotomy more overtly, or more effectively for that matter, than Beasts of the Southern Wild, a film that combines a prototypically realistic aesthetic of hand-held camerawork in an exceptionally tactile physical environment with the distorted view of a six-year-old girl named Hushpuppy, played by Oscar nominee Quvenzhané Wallis. – in a high frame rate projection. They are, in fact, real to her; they are how she makes sense of her reality; and we’d do well not to stand in judgment of that kind of innocence. ("Long Synopsis" from the Festival de Cannes press kit for Beasts of the Southern Wild). Join us for our weekly review of movies worth seeing, worth avoiding and our Top 5 lists – and don’t forget to play along at, Support your favorite podcast through leaving a rating or review - it goes such a long way in helping them grow! . Which, in an extension of the theme, they look upon as being not very sordid at all, because they are the good kind of drug users, the peaceable friendly kind. But “fantasy” doesn’t have to mean wild animals and magical realism. How does 50 hours of new, fresh content sound at less than a buck an hour?
The question then, is whether or not physical presence is what we want from The Hobbit. Cast : Quvenzhané Wallis, Dwight Henry, Levy Easterly, “Spontaneous is a lot. I imagine it doesn’t need pointing out that neither of these are in any meaningful way “realistic”; but the ways in which they are not realistic is quite important. One of these was the powerhouse The Dark Knight Rises, one of the most massive pictures of 2012; the other was the microscopic, hugely-praised Beasts of the Southern Wild. In it, critic Kelly Candaele calls the Beasts "dangerously hedonist—an apolitical, individualist hedonism with a tacked-on ending suggesting an incipient social movement." Mirror Mirror, directed by arch-fabulist Tarsem Singh, with crazy, impossible design work by Tom Foden and Eiko Ishioka, looks like the most absurdly impossible sort of children’s book illustration, while SWATH, particularly thanks to its cinematography by Greig Fraser, is filled through and through with the gritty, grey-brown-black darkness that in a post-Christopher Nolan world has come to signify “hardcore, edgy realism” in popcorn cinema. Carrie, our casual movie-goer, reminds us all that cinema is in fact supposed to be fun and entertaining and that sometimes, just sometimes, happy endings are good. Even so, film is, of its nature, a fantasy; it is the depiction on a flat surface of a certain idea or perspective that doesn’t exist anywhere else. Tolkien’s Middle Earth legendarium, of course, is the High Fantasy spectacle of it; the orcs and trolls and wizards and magic rings and all. Rob, the film-school dropout, has seen an absurd amount of movies, and if we’re being honest, rounds out our Fight Club fan-base. If Beasts praises Hushpuppy for being pure of soul, Savages… doesn’t actually “condemn” its leads, for the reason that it has very little idea of what it’s moral perspective is. Are filmmakers working from a similar canvas when they assess the issue of death or the dynamics of revenge? “No”, say others, “the charm of this setting is that it feels distant and misty and magical, very far apart from us, and it is best to keep it at a storybook”. Do we want our movies to resemble life more, or less?
What makes Alternate Ending different from other film sites and podcasts?
“Fantasy vs. reality” doesn’t just have to exist within the narrative of a film, though; it can also exist within the viewer’s relationship to a film, where our appreciation of how fantastic it actually is can have a significant impact on its meaning. This is a place for people who can't get to the theater until the third week a film is out; a place for people who just want to find something great to stream online after the kids have gone to sleep, a place for people whose favorite pastime is to grab a bunch of classic films on DVD from the library and watch them all weekend. In Beasts of the Southern Wild, the narrative element of symbolism illustrates the theme of human development and the importance of human emotions. The nods to summer-style realism aren’t there to ground it, Batman Begins like, but to increase the impact of those magical elements when they appear. One of these was the powerhouse The Dark Knight Rises, one of the most massive pictures of 2012; the other was the microscopic, hugely-praised Beasts of the Southern Wild. It's a place that believes that every great movie is a wonderful new treasure, whether you see it the night of its premiere or fifty years later. That's because Spontaneous is honest. After all, the main charm of Mirror Mirror – many would concede that it has no charms at all, but I’m increasingly fond of it – is not that it’s physically impossible, but that it uses sets, costumes, and judicious CGI to suggest that it is physically possible, and thus find a way to realistically depict fantastic imagery of a kind buried deep within Western childhood in a way that is both plausible and imaginative at the same time. That this is a fantsy is selling it short: it’s lifestyle porn wish fulfillment of the rawest sort. Bored watching the same stuff over and over again? But it’s not as simple as that.
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