In Hollywood, where there are cavernous prop warehouses, some props get returned to storage or donated. For productions shot anywhere else—including Savannah—chances are that it all ends up in the garbage.
Local filmmakers at Georgia Film Academy turn their lens to good works
LAST FALL, when Will Martin and Kareem McMichael were enrolled in the Georgia Film Academy at Savannah Technical College, they needed to find a film set to work on in order to fulfill the internship portion of the program.
Film competition shines light on commerce, creativity and kindness
It’s a simple equation: Three local businesses plus three local charities, divided up amongst three local film crews. The resulting films are ranked, and the winner walks away with a four-figure check.
The trio dominating this picture is a lackluster one, with Oscar Isaac, Christian Bale and Charlotte Le Bon unable to bring much dimension to their threadbare characters
The Fate of the Furious wallows in inanities with about the same frequency as it delivers excitement, and, like the other two films that followed the series-best Fast Five, it largely succeeds as a breezy and engaging lark.
The delicate balance between humor and pathos that informed the original has been replaced with broader gags and more blatantly manufactured sentiment.
The Zookeeper’s Wife is rated PG-13, but don’t be fooled into thinking that designation means the movie is two hours of Chastain pulling a Doctor Dolittle and talking to the animals while blissfully unaware of the atrocities surrounding her.
For those willing to look beneath its surface dazzle, Ghost in the Shell proves to be an unexpectedly complex and surprisingly humanistic endeavor.
Sentiment quickly takes the place of cynicism, and, despite the occasional flash of brutal wit, the film settles into a well-worn groove of indie preciousness.
The plot remains fundamentally unchanged from the ’91 model, and the narrative diversions that have been added along the way are acceptable and sometimes even manage to enhance particular points from its predecessor.
The film is crucially missing a worthy villain of note – and when the scripters run out of ideas, they paraphrase Stephen Sondheim and elect to send in the clones. This latter decision renders the action sequences even more rote and less interesting.
As is often the case with historical sagas, the picture relegates lots of fascinating material into a few blocks of text at the end, giving short shrift to the subsequent accomplishments of two people who refused to be defined merely by their physical appearances.
The major liabilities of the first picture have been neatly carried over into this latest endeavor, beginning with the fact that the general prudishness permeating throughout American society makes it impossible for Hollywood to produce an honest, provocative or explicit film about S-E-X and have it receive an R rating.