The question.

The two films that I am studying are sherlock holmes A game of shadows and Moon. Both films are very different to each other, with both very different storys, and a very big gap of gross profit. Moon made $5 million where as shrlock holmes a game of shadows made $186.8 million. They both use social networking sites as a way of free advertisement, and an easy way of spreading the word about the film. People can also interact and discuss the film with other people. The sherlock holmes film has a of social networking, such as The facebook page for Sherlock holmes a game of shadows, which  has 225,498 likes. there twitter page has 12.677 followers and 433 tweets. The amount of tweets shows that they were interested in keeping the fans very up to date with the film, and were keen to get people involved with the film. They also have a website, which has quite well made, it has lots of features, but isn't very interactive for the user, and gives the impression that it was made in a hurry. The site has features such as being able to watch videos about the film and the story, and has a section in which the user can get involved in the story using there facebook, twitter or google + account to be able to contiune watching the videos to give clues on the what the film will consist of. This shows the instituion is thinking about the audience of the film thoroughly and they are making sure the viewer gets the most satifaction out of the film, as people will watch films for social interaction. Another way how people can really help a film is by making sites and fan pages. These can help both the viewer of the film and the institution of the film, as it they show that people cared about the film and are proud of its presence, and they can also help the film makers if the film didnt get brilliant reviews, they know that there is still a group of people who really enjoyed it and are proud enough to make a site or a page about that film, and i'm sure they can spurr on the film makers to continue the series if possible, and to be proud of their creation.    where as

Moon only has a very small amount of likes, only 1,342. The film was a very "underground" film and its had hidden success. The website just tells you how crucial advertisement for them was because so much effort has been put into the creation of the website. The amount of interaction and all the different things going on in the website is very good. They way everything moves and all the sub links to everything on the page is top notch work. The twitter page for moon is run by a fan, who has brought big advertisement for the film. The facebook page has 210,000 likes which is a hell of a lot more than sherlocks facebook page, which tells us that they had to rely so much on social networking for advertising the film, and spend a big budget of the film on advertisement as it is an unknown film unlike sherlock holmes which has already had a film released before A game of shadows so there need to advertise was less as people would have known about the film and would have automatically watch the next one if they enjoyed the first one, and Moon was coming out fresh and never seen before. Moon's Facebook page posted everything they could possible (even about auctioning the props off!) and by using links to other websites which the film had a connection with, weather it was them selling there film on DVD to articles about the films awards. The film itself was scored higher than any harry potter film on rotten tomatoe, scoring 90%, which very few films ever get that score.

FOR YOU!

"STEVE, STEVE, HUH! NOT SO LOUD" ;-)

The original one.

In one of the most momentous pieces of movie news in recent years, Disney have stumped up $4bn to purchase Lucasfilm and the rights to the Star Wars franchise, with Star Wars: Episode VII set to land in 2015.

The movie will be part of an all-new trilogy, with Episode VIII and Episode IX likely to arrive in 2017 and 2019 respectively. Lucasfilm has already mapped out a new storyline, with George Lucas having consulted on a script for part VII.

“For the past 35 years, one of my greatest pleasures has been to see Star Wars passed from one generation to the next,” said Lucas in an official statement. “It’s now time for me to pass Star Wars on to a new generation of filmmakers. I’ve always believed that Star Wars could live beyond me, and I thought it was important to set up the transition during my lifetime.

“I’m confident that with Lucasfilm under the leadership of Kathleen Kennedy (the newly appointed president), and having a new home within the Disney organization, Star Wars will certainly live on and flourish for many generations to come. Disney’s reach and experience give Lucasfilm the opportunity to blaze new trails in film, television, interactive media, theme parks, live entertainment, and consumer products.

“I have story treatments of 7, 8, and 9,” continues Lucas, “and a bunch of other movies and obviously we have hundreds of books and comics and everything you could possibly imagine. So I sort of moved that treasure trove of stories and various things to Kathy, and I have complete confidence that she’s gonna take them and make great movies.”

Meanwhile, Kennedy confirmed that she is already liaising with writers to advance the script for Episode VII. “We’re in the midst of the really fun part of the process,” she says, “which is we’re sitting down with a couple of writers and we’re starting to discuss ideas and we’re starting to talk about what those stories might be."

Earth-shattering stuff then, and news that’s going to take a little while to process. In any case, it looks like the Avengers and the Justice League are going to have some fairly hefty competition in 2015…

Watch a video of George Lucas and Kathleen Kennedy discussing the future of Star Wars

STAR WARS!

Star wars

My version

One of the most iconic movie news in the past few years, Disney have forked out $4bn to buy lucasfilm and rights to the iconic star wars franchise, with a new movie to arrive in 2015.

The film will be a brand new and exciting trilogy, which will be episodes 7, 8 and 9, which will be arriving to our sreens in 2017 and 2019 as too  

"For 35 years I have enjoyed seeing the star wars franchise be passed down through generation to another"said lucas. "but its now time for it to be made for the new market. I always believed that star wars would carry on from me, and I thought that it would be good to carry it on will i'm still alive.

"I'm confident in lucasfilm to be in the hands of kathleen Kennedy, and Star Wars having its new home in Disney, Star wars will now be able to live on for generations to come.Disney’s reach and experience give Lucasfilm the opportunity to blaze new trails in film, television, interactive media, theme parks, live entertainment, and consumer products."


“I have storys ready of 7, 8, and 9,” continues Lucas, “and loads of other movies and vast amounnts of books and comics and everything you could possibly imagine witth Star Wars. So I just handed over the treasure trove of stories and various other things to Kathy, and I have complete confidence that she’s gonna grab full on, and make some great movies for everyone to love and cherish for years to come.”

Kennedy has already confirmed that she is already discussing with writers about the script for the first episode. " Were in a really fun part of the process right now", she tells us."We’re sitting down with a couple of writers and we’re starting to discuss ideas and starting to talk about what those stories might involve."

Amazing stuff right? I'll leave you for a moment for to digest this all and to get very excited! Dont worry you have plenty of time to, 2015 will be the first movie coming out. The big films are going to have some big competition...

Saving private ryan trailer

Moon Trailer

Technology has improved vastly in just my lifetime, let alone in the last 20-30 years. We have so many different ways of how we see media. The vast improvements in technology have been in TVs. They started with 4 channels and now have thousands. They have slimmed down, become faster, sexier and now an essential in the house. We now have 3D TVs which have improved the enjoyment of tv. It has given chances for company's to make lots of money by internet tvs, which can used for watching things like netflix and love film. Without this change, they could only be making money with computer users, but now a household can love film on their tv, xbox, computer, tablet, phone and the ps3, making films a lot more accessible and alot more advertisement for them. Another way how technology has improved the audience experience is the new technology of 3d cinema films and imax cinemas. These have made the appeal of going to the cinema rocket as most people will not be able to see the film like that anywhere else, ( unless you have a 3d tv but it is still not the same and they are very expensive) and this has caused a boom in films making sure that they are enjoyed the most, if watched in 3d. Another way audience experience has improved is by newspapers and magazines. They have given more advertisements for films and actors, and have played an important role of getting people noticed. Also social networking has played a big role just due to the fact how easy it is to get yourself out their and especially with twitter, people can know alot about someone they've never met before and they can find new people that wouldn't have known about before social networking.

Moon Review

While J. J. Abrams’ Red Bull reboot of Star Trek has triumphantly pulled the Zimmer frame from a rusting franchise, the relaunch is pretty indicative of modern mainstream sci-fi — epic on the dazzle, easy on the brain cells. Given its pondersome heritage, Trek’s facelift as an action series is an invigorating way to go, but it does firm up the argument that the genre of Big Ideas is, nowadays, more about Huge Explosions.

Which is odd because, during the ’70s and early ’80s, American cinema was besotted with sci-fi, not as a rollercoaster ride, but as a vessel for exploring man’s place in the cosmic ink. Duncan Jones’ mesmerising debut is an affectionate throwback to the Blade Runners, Outlands and Dark Stars of the genre, not just in terms of the way it looks, but the way it feels and thinks. From the very moment we land on Moon, the future is sci-fi’s past. The year is 2024 but really, what with the chunky lunar bases, clinical interiors and spooky, mothering computer, its Casio watch is still firmly stuck on 2001. Endearingly lo-fi Tonka Toy lunar buggies bonk over the moon’s surface like it’s space circa 1999. The stranded space-hippy vibe screams Silent Running... And yet, just when you think you’ve seen it all before, Moon fuses a jumble of familiar elements and magics up something original.

The opening act follows all the beats of a castaway movie as we’re eased into the moon boots of Sam Bell, plodding solo around his lunar base, sharing tediously functional conversations with a Kevin Spacey-voiced computer, watching video messages from the wife and generally aching to get the hell out of there. Sedate camerawork and Clint Mansell’s spectral piano score compound the sense of unearthly isolation, but what makes it all so captivating are the lived-in details that ground his solitary confinement — the furry dice in the moon rover, the crumpled Post-it notes, the vac-packed baked beans he slobbily sucks straight out of the bag...

There’s also, however, a softly humming ominous ambience that’s always threatening a lurch into space oddity and when it hits, with the baffling arrival of Bell’s surly doppelgänger, the film warps genres — from character study to twisty-turny existential mystery, and it’s just too smart to spoil. Less a whodunnit, more a whothehellami, while the ingenious script keeps you guessing, a terrific turn from Sam Rockwell keeps you caring. It’s a deeply engaging one-man show and, crucially, puts a human face on some seriously hefty themes (memory, alienation, identity). When he finally cries, “I just want to go home,” hearts will break.

Shot in 33 days and working miracles with a $5 million budget, it’s a Sundance movie in outer space and a relief it escaped the studio black hole. Moon asks proper big, stimulating questions about what it means to be human, without being cold, aloof, poncy or even remotely boring. It also looks, in its own wonderfully Airfixy way, fantastic. If you like brainfood served with your eye candy, take the trip.

Verdict
They do make ’em like they used to — a fresh blast of old-school sci-fi, bursting with ideas and a stellar turn from Rockwell.


Reviewed by Simon Crook

Another review

Saving Private Ryan is shattering. There is no other word to describe it. No matter how much you've read about the famed 25 minute opening sequence detailing the invasion of Omaha Beach in Normandy on June 6, 1944 (D-Day), you are still pommelled into horrified silence. The brilliant direction of Steven Spielberg and cinematography of Janusz Kaminski puts you right there on the beach, as a young soldier entering the closest thing to hell on earth. All around you your colleagues pray with visible fear, vomit from the rough launch ride through the choppy sea, and get ripped to pieces by the merciless machine gun fire from the enemy up on the hill. Mortar bombs blow limbs from torsos, and deep red streams run down the sand to the lapping waves. Cries of excruciating pain ring in your ears, and yet you must proceed, heedless of the sound of bullets ricocheting off metal barriers.
Such is the intensity of this first half hour that you don't even breathe a sigh of relief when it's over, fearful of the battle flaring up again. I'll say it now: Saving Private Ryan is the most brutal and graphically realistic depiction of the horrors of war in the history of motion pictures. Earlier films tended to portray the heroism of war, and some, such as the Rambo series, even revelled in its glory. Then, in the 80s, with Vietnam a fresh memory, a string of anti-war films (Platoon, Casualties of War) showed what it was really like in those steaming, surreal jungles. But even those pale in comparison to the recreation of the relentless slaughter perpetuated on Omaha Beach. So effective is this sequence that on many occasions later in the film I was afraid of who would get a bullet in the head, or have his throat punctured and blood squirting out. Spielberg is a master at creating suspenseful situations (the unseen shark in Jaws, the T-Rex attack in Jurassic Park, the opening of Raiders of the Lost Ark), and there are plenty in Saving Private Ryan. However, the suspense comes from not knowing whose life is expendable, or when or where the next bullet is coming from.
The story, as such, concerns a mission to find and bring home a Private James Ryan whose 3 brothers have been killed in action within a week of each other. The men entrusted with this mission are Captain John Miller (Hanks), a survivor of Omaha, and his company. The group is the usual ragtag bunch of soldiers seen in many war films, including a loud-mouthed Brooklynite, a Jew who delights in showing off his Star of David to passing German POWs, a bible-quoting sharpshooter, and a sensitive interpreter who is thrown into situations he is ill-equipped to face. Everyone knows their mission is a public relations exercise, and the question of why Ryan's life is more important than theirs is voiced often, but never quite answered. As their leader, Hanks gives probably his finest performance. He knows that winning the war is important, and yet his desire to go home to his wife drives him to complete his mission. The scene where he breaks down and cries is heartbreaking. The supporting cast is solid, and though we do not really get to know them in intimate detail, we can feel their fear and pain.
It seems surprising that after decades of directing and producing fantasy/action/adventure films, Spielberg would be most acclaimed for two films set during World War 2 (the other being Schindler's List). They each show different sides of the war, and though neither is less graphic than the other, Schlinder's List was like a long fuse, showing a slow escalation of the inhumanity of the Nazi machine. Saving Private Ryan, however, is a full-on, visceral assault on your heart and senses that never stops till the film is over. There are many images that will remain seared in my memory, including one particularly painful fight that literally pierces the heart. It is the first film I have seen that showed me what it was like out there in the trenches, and the horror and futility of it all. Thanks to this film, I now look at our veterans with new respect. My recommendation: see it. There probably will not be a more powerful film this year

BBC Review

BBC review of Saving Private Ryan

The release of "Saving Private Ryan" generated a massive hype due to Steven Spielberg having also directed that other Second World War opus, "Schindler's List". Now that Hollywood has moved on and the fuss has subsided, it's clear that an important movie remains.
Much has been written and gasped about the opening 20 minutes as the GIs land on the beaches, only to be mown down by the Germans. Some recoiled at the graphic violence, others praised the realism, while some questioned whether war is really like that at all. The percentage of an audience who can accurately comment is surely small.
What is abundantly clear is that in the massive body of films that deal with World War II, this is one that pulls no punches. It consistently explores the unpredictable and random violence that engulfs and blinds the men within it.
The plot serves only to drag a squad of characters through uncharted peril with few fitting the normal pre-determined 'hero' tag of war films. They're off on a PR mission to find a Private James Ryan and take him home to his mother, who is shortly to learn that her other three sons are dead.
While the men are constantly under threat from the Germans, they are not engaged in a key battle that will help win the war. Without a major event to eclipse proceedings, a greater examination of each man's personal fears is allowed to shine through.
This is not a film that will please everyone and quite rightly so. But no movie about any war can seek to provide answers to every question. What Spielberg does is create a world of frightening carnage in which a small story is played out. As such, this is an important film that deconstructs war machines into separate, frightened men as it so likely was.