Archived entries for Film preview

2010.47 Inside Job screening and my review

What should have been an important movie is marred by a slanted and biased attack.

First, thank you to The Wrap for inviting me to a screening of Inside Job (click Inside Job for webpage) last night in Sherman Oaks. And thank you also to director Charles Ferguson for speaking about the film and answering questions after the screening.

I wasn’t able to articulate the question I would have liked answered last night but now can: Why lose such an important message in mean spirited and malicious attacks?

The movie starts with some quotes from finance professionals and commentators that set up the audience for the tone of the movie. I’m okay with that; the documentary needs a mission statement and this one’s is clear from the beginning.

And the first half or so of the movie is great. A lot of these questions should be asked and the answers exposed. Many Wall Street and other firms did a lot of questionable things during the time frame covered and the public deserves answers. Ferguson spares no administration from Clinton, to Bush, to Obama…which I admire. He treads softly around certain governmental participation in the factors leading to the bubble then skewers them in others. For example, when regulating derivatives was proposed, the poor lawyer who suggested it was attacked from industry and government both. Ferguson’s clips of executives from various firms evading questions, even very direct ones, while in front of various government panels is painful to watch. Sure, answering some questions honestly exposes your firm to potential liability but a certain level of ethics and acceptance of responsibility when presented with facts would have been reassuring. The lead up to the financial crisis is informative, concise and understandable.

The film’s photography and imagery are beautiful. Technically the film is lovely. It follows a coherent narrative flow and explains complex issues in a way understandable to many. I especially loved the sweeping aerial shots of Manhattan. Ferguson is a very skilled film maker.

Ferguson does get a few facts wrong – for example, while Wall Street CEOs earned high numbers, much of this compensation was in the form of stock, deferred comp and other illiquid (in the short term) payments…and in some cases was only paper money that melted away during the financial crisis. And he also makes a few puzzling arguments (the increasing distribution of wealth to the top 1% of the population may be relevant when analyzing the financial meltdown but he doesn’t explain the tie…which makes it puzzling). I can forgive him these points; he is clearly using facts selectively to support his mission statement. Ferguson doesn’t owe us a fair minded portrayal…he’s been clear from the start in defining his agenda.

But Inside Job veered off course completely when the personal attacks began; both in not substantiating them and in the mean spited way many interviewees were attacked after agreeing to speak (leading questions with no answer being shown on film, accusations, assumptions…). I was puzzled when he criticized professors who had advised and been in government for getting paid for their work and public speeches (and, in like spirit, is Ferguson getting paid for the documentary or any related paid speeches he is asked to do?). Economic theory is just that – theory. Only in actual application can we see if it will work. I don’t understand why academic economists shouldn’t do advisory work inside or outside government.

And having Elliot Spitzer as a moral high ground making indirect accusations/innuendos about prostitution and sex in the industry seems bizarre. First, I have my own issues with Spitzer as I believe his actions directly contributed to the financial meltdown. Next, his innuendos are tied in with direct (but unsubstantiated) accusations of rampant drug use and prostitutes as a part of Wall Street culture by a madam and psychologist with “Wall Street clients”. With no direct information just sweeping statements the tactic appears to be a trick meant to deflect from the real issues and just smear the industry.

Interestingly, Ferguson uses interview clips with Raghuram Rajan, who wrote Fault Lines and was at the IMF during the time in question and warned of the risks, to support his argument. Yet Rajan’s excellent book is more moderate and realistic and much more powerful than this biased movie.

The question and answer period after the film revolved around a wall street bashing free for all so Ferguson clearly found his audience last night. Too bad he didn’t aim for a serious discussion of the issues instead of sensationalism. I thought the first half of the movie was excellent and was disappointed with the ending. Perhaps that’s what it takes to get big studio support in this day and age. But, I wonder if, had his viewpoint not been pre-determined and antagonistic, he would have gotten access to a broader range of key potential interviewees and been able to provide a more rounded picture.

That movie is still waiting to be made.

2010.37 Imax to partner with Laser Light Engines

IMAX, which specializes in immersive motion picture technologies, recently signed a deal with Laser Light Engines for development of high brightness technology systems exclusively for IMAX digital theatre systems.

Under the terms of the agreement, IMAX will make an equity investment (of undisclosed amount) in Laser Light Engines; who in turn will develop a custom version of its laser light technology for exclusive use in IMAX digital projection systems. Laser Light Engines will also develop custom features to help enhance the IMAX experience. Additionally, LLE’s technology won’t be available to the general market for two years, and to other large format theatre systems for three years.
Laser Light Engines designs, develops and manufactures OEM laser-driven light engines that provide high brightness, long lifetimes, energy efficiency and color control capabilities.
One particular challenge of theatrical 3D is that the viewer’s 3D glasses filter out a significant percentage of the available luminescence as they “trick” the mind’s eye into seeing a 3D image. That means that a brightness that is adequate for 2D viewing is insufficient for 3D exhibition, and many viewers consider 3D movies to be too “dark.” This challenge is the backdrop for IMAX’s interest in LLE.

IMAX screens typically go from floor to ceiling, and extend to the edge of viewers’ peripheral vision, which creates an immersive experience. Their sound system is of exceptionally high quality. The company’s 3D theatres even further increase the viewers’ feeling of immersion. Most IMAX theatres feature a steeply inclined floor which allows each audience member a clear view of the screen.

The deal is subject to due diligence.

IMAX has had a busy year thus far in 2010 – quickly signing up deals to open new theatres around the globe. Most recently, on July 15 they announced an agreement with Lumiere Pavilions, one of the fastest growing private movie exhibition chains in China, to open three new theatres, one a year starting in 2010. This deal brings the total number of IMAX theatres scheduled for operating in China by 2012 to 57. The total number of IMAX signings announced this year is 95, as compared to 35 systems during 2009. And the mix of openings signed spanned the globe with sites to include Japan, the Philippines, Thailand, Singapore, Russia, the Ukraine, Croatia, France, the Netherlands and the UK. They have also expanded an earlier agreement with AMC by adding 15 to 25 more theaters to the original 104 agreed upon.

Inception, which opened on a record 197 IMAX screens over the past weekend, was also the top grossing picture, taking in $60.4 million.

The company will announce earnings on July 29.

2010.28 Toy Story 3 – to infinity and beyond?

Last Sunday, as we drove by a Shrek Forever billboard, my nine year old daughter told me that she wasn’t going to see the movie. She declared that a trick the studios use is to make one good movie then follow it up with a bunch of bad movies under the same name. She then stated that they especially use the trick on children. She doesn’t seem to be alone in her wariness toward the studios’ summer slate as Memorial Day weekend attendance was the lowest since 1993. Box office receipts for the following weekend were down 24% compared with the like period in 2009.

So how is the new calendar market really doing? After all, last year (2009) box office receipts were up. The time period between May and Labor Day typically accounts for about 40% of annual ticket sales. Yet since early May, with the strong “Iron Man 2” release, total domestic box office revenue has fallen about 6.4% to $1.02 billion from $1.09 billion a year ago. This past weekend was up 11% with the strong $56 million (over three days) release of “The Karate Kid” yet a lot of high profile sequels such as “Sex and the City 2” (with some of Warner Brothers worst reviews ever) have disappointed.

What ails the calendar? I’ve researched the expert comments on and offline. An improved economy means that consumers no longer flock to movies as a relatively inexpensive entertainment option. Ticket prices are also up (so tickets aren’t as inexpensive which consumers may not appreciate even if they have the money to spend). Despite the 3D hype only one major 3D movie has been released since May – “Shrek Forever”. But I’m also reading a lot of articles questioning the momentum the current crop of movies has been able to build. And if the audience is already wary of the calendar will the summer prove to be a disappointment?

Last year – during this same summer time window – eight action fantasies and animated films topped $150 million, including four that had already been released by today’s date (“Up”, “Star Trek”, “X-Men Origins- Wolverine” and “Night at the Museum: Battle of the Smithsonian”). Thus far, the current crop of movies isn’t matching that performance.

What’s on the slate for the rest of the summer? At least four 3D movies, including “The Last Airbender” and “Despicable Me”. The much advertised during last night’s Lakers game, “Knight and Day” with Tom Cruise and Cameron Diaz and “Grown Ups” with a slate of five names (though none of the seven actors in those two films has broken the $150 million mark since 2005). “The Twighlight Saga: Eclipse” will be released on June 30. Will Ferrill, Julia Roberts, Angelina Jolie and Sylvester Stallone all have a movie in the cue. And, let’s not discount the possibility of a smaller surprise hit making an impact.

Two links for the summer calendar and related previews are: The movie insider and Teaser-trailer.

I quote my children often on media related topics because they view the various options without a legacy overhang. Hearing my daughter’s comment yesterday – coming from someone who thought the Squeakquel was one of the best movies of all time – and then reading an article in this morning’s NY Times about viewer malaise with the current movie calendar re-kindled some issues I’ve already discussed herein. How can content providers define and target quality experiences to viewers who have so many other options? Can they continue to re-tread the names and story lines that worked in the past? If nothing else, they continue to try.

To be fair, the studios’ core strength is their ability to finance large budgets and give them worldwide visibility and distribution, and to maximize revenue in all forms (including games, licensing and spin-offs). Quality? Well, we can debate that term forever (and I have).

Truly, some franchises continue to work. I’ve already posted an earlier photo from ShoWest in which I’m flanked by Buzz and Woody. We’ll be in a theatre for “Toy Story 3” because Pixar has done a great job in maintaining the franchise’s quality. Like most movie goers I’m perfectly happy to pay for an extraordinary experience.

What movies have you seen this summer that justified the time and expense involved?

Note on the picture – The Toy Story 3 preview can’t be embedded from YouTube as the embed code is blocked. So, I did The Karate Kid instead and highly recommend the clip. It was cheaper – also – than buying a picture from the photo source I use. Example of pricing model issue?

2010.23 Wall Street Two trailer

In the spirit of my review of Michael Lewis’s newest book I decided to add a preview of Wall Street Two, Oliver Stone’s return of Gordon Gekko.

These two content creators seem to have a nose for Wall Street downturns (and the resulting, and even sometimes deserved, criticisms).



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