One symptom of our terrible, horrible, no good cinematic age: death-defying stunts in movies are pretty much par for the course, and thus unimpressive. A Chitauri spacecraft can smash through the windows of Grand Central Terminal and look fairly photoreal, yet it’s one of the least exciting bits in The Avengers’ third act slugfest. All our high falutin’ technology has done a lot to enhance the filmgoing experience, don’t get me wrong, but it has desensitised to the point that we expect danger at every turn.
We knew that young Suraj Sharma was never near a real uncaged tiger while shooting Life of Pi, which is why Drafthouse Films, the Austin-based upstart theatre chain and distributor of hard-to-categorised movies, is pushing the behind-the-scenes elements of their unearthed gem Roar as much as the film itself. It’s a smart move. There’s really not much going on with Roar storywise. But then you take a step back and think about what it is that you’re watching. My viewing of Roar was set to a soundtrack of “Oh my God!” and “Holy crap!”, all of my own making.
Roar, finished in 1981, was the pet project of Noel Marshall. He was a producer on The Exorcist and used his own, demon-bred money to finance this film that nearly killed him and his whole family. That family consisted of his wife Tippi Hedren, his two sons and Hedren’s daughter Melanie Griffith. The basic plot is that Marshall is working in as a zoologist in Africa. (And maybe he’s a doctor, too? There’s a shot of him in a white coat among Masai villagers. For a movie that took over 10 years to make, it is a tad incoherent.)-READ MORE AND SEE VIDEO-http://www.theguardian.com/film/2015/apr/14/roar-review-big-cat-movie-that-injured-70-crew-is-re-released-run-towards-it
The hunt for British Big Cats attracts far more newspaper column-inches than any other cryptozoological subject. There are so many of them now that we feel that they should be archived by us in some way, so we should have a go at publishing a regular round-up of the stories as they come in. Curated by Carl Marshall and Olivia McCarthy
Saturday, 18 April 2015
FILM NEWSLINK-Roar review: big cat movie that injured 70 crew is re-released! Run! Towards it!
One symptom of our terrible, horrible, no good cinematic age: death-defying stunts in movies are pretty much par for the course, and thus unimpressive. A Chitauri spacecraft can smash through the windows of Grand Central Terminal and look fairly photoreal, yet it’s one of the least exciting bits in The Avengers’ third act slugfest. All our high falutin’ technology has done a lot to enhance the filmgoing experience, don’t get me wrong, but it has desensitised to the point that we expect danger at every turn.
We knew that young Suraj Sharma was never near a real uncaged tiger while shooting Life of Pi, which is why Drafthouse Films, the Austin-based upstart theatre chain and distributor of hard-to-categorised movies, is pushing the behind-the-scenes elements of their unearthed gem Roar as much as the film itself. It’s a smart move. There’s really not much going on with Roar storywise. But then you take a step back and think about what it is that you’re watching. My viewing of Roar was set to a soundtrack of “Oh my God!” and “Holy crap!”, all of my own making.
Roar, finished in 1981, was the pet project of Noel Marshall. He was a producer on The Exorcist and used his own, demon-bred money to finance this film that nearly killed him and his whole family. That family consisted of his wife Tippi Hedren, his two sons and Hedren’s daughter Melanie Griffith. The basic plot is that Marshall is working in as a zoologist in Africa. (And maybe he’s a doctor, too? There’s a shot of him in a white coat among Masai villagers. For a movie that took over 10 years to make, it is a tad incoherent.)-READ MORE AND SEE VIDEO-http://www.theguardian.com/film/2015/apr/14/roar-review-big-cat-movie-that-injured-70-crew-is-re-released-run-towards-it
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