Matthew Davis as Matt Tollman. Reviews Blue Crush. Roger Ebert August 16, Now streaming on:. Powered by JustWatch. Now playing. Found Roxana Hadadi. At the Ready Monica Castillo. Warning Simon Abrams.
Mass Matt Zoller Seitz. Arrebato Carlos Aguilar. But few people realize how often directors use visual effects in a more subtle manner, meant to pass without notice, but producing changes to the screen image that might not otherwise have been possible.
The Mothman Prophecies helmer Mark Pellington said, "An 'effect' with an 'e' is meant to have an effect with an 'a. Often, visual effects are employed to produce or alter backgrounds that might not have been possible to capture on camera. For Red Corner , director Jon Avnet wanted extensive shots of Beijing, China, for a film whose topic, the Chinese judicial system, and star, Richard Gere, weren't favorites of the Chinese government.
Avnet solved this by taking a trip to the city on a tourist visa and taking 35mm photos with a Leica still camera for use as background plates, augmented by a small amount of footage shot by a unit in Beijing. The flat plate images were developed into 3D models by Cinesite and, when combined with the real footage of the Gates of the Heavenly Temple and Tienanmen Square, made for a surprisingly realistic background.
The upcoming, World of Tomorrow , directed by Kerry Conran and produced by Avnet, was shot with HD entirely without sets, all on blue screen, with all backgrounds generated as visual effects. But for the new film, which is set in , "There's a difference between creating a historical world and creating a current one. There's a different level of scrutiny from the audience when creating a current background.
Using visual effects to replace backgrounds must be done with great care, said director Randall Wallace. As an example, for his upcoming Love and Honor , a period film to be shot in St. Petersburg, Russia, Wallace plans to shoot the city as it appears today, removing the modern elements digitally. They'll be part of the process, but they won't be the lead factor in the process," he explained.
Besides creating or re-creating backgrounds, directors also use VFX to create actions that human actors can't always perform. For Wallace's We Were Soldiers , visual effects were used to create a subtle, but poignant, effect on a dead soldier. It was shot on a very dusty day, and it was very difficult for the actor to keep his eyes perfectly still for the length of that shot. We found that, with visual effects, we could make his eyes perfectly still, as they would be in death.
But it didn't strike people as a visual effect. They were caught up in the story. Director Spike Jonze employed visual effects tools in Adaptation to make slight performance adjustments when working with footage of Nicolas Cage as interacting twins Charlie and Donald, filmed, variously, with blue screen, split screen and motion control.
That's another story, one we will avoid here except to already have noted that this film made a deliberate effort to steer away from sex in order to only have one cinematic center. And that's the architectural water. Structured, moving water is the most cinematic thing in existence. It is also an incredible challenge to film, but the few times it has been explored, the results have sometimes been striking.
I have made a minor study of how different projects move the camera within dancing and in Ang Lee's case, within fights. The same techniques are used here as we participate in the dance between this athletic girl and these immense hydraulic beings.
I do not know for sure who did what, but I confidently surmise that this achievement is the result of a true story of girl power in Hollywood. The editor in this case is Emma Hickox. Aside from what we see on the screen, we know she is a remarkable cinematic mind if only because of her parents. Her mother is the still working at 85!
Watch what Ms Hickox does with the compositions of the eye as we envelop the enveloping water. Watch how cleverly she establishes our place with our ear at the beginning of these sequences and keeps us aurally, mentally stabilized while the eye dances. Amazing, simply amazing. My only criticism is probably something beyond her control. We only needed to see the flashback sequence of the younger Anne getting her head bumped once.
It must appear eight or ten times, every moment we have to be bludgeoned into recalling that she is frightened. See this film. Ted's Evaluation -- 3 of 4: Worth watching.
Better than anticipated surfer flick with the twist on the genre by focusing on a Hawaiian based determined young female athlete Bosworth attempting a requiem two years after a near fatal accident while competing is buoyed by her family of friends and a vacationing quarterback Davis factoring as an unexpected blossoming romance.
The connect-the-dots plotline of social graces hinder the otherwise excellently lensed moments of visceral, adrenalized thrills in shooting a curl with massive walls of water in all its colorful fury by cinematographer David Hennings while director John Stockwell who co-wrote the screenplay with Lizzy Weiss' adaptation of Susan Orlean's magazine article balances the melodrama affectively with the totally awesome hydrodynamiques on display. One gripe: would it have killed the filmmakers to show some more of the paradise playland for a travelogue begging to be showcased?
Wuchakk 12 March Released in , "Blue Crush" tells the story of three young female surfers in Hawaii who support their lifestyle as maids at a high-class hotel. Anne Marie Kate Bosworth has dreams of going professional, but she has to get over her past failures and her family's breakup to succeed. In the meantime a vacationing NFL quarterback Matthew Davis romances her and she has to determine if their relationship is real or just a fling for him, that is.
As you can see, "Blue Crush" is a 'sports film' in the manner of "Karate Kid" and a host of others. Although some of these movies go the comedy route -- e. By "good-looking" I mean realistically so, not like "Baywatch" which normally featured masses of ultra-hot babes swarming the beaches. For the first hour the film was pretty much what I expected it to be, nothing great but moderately entertaining for this type of flick, and then something happened at the the minute mark that struck a chord with me.
Anne Marie hits the waves with her friend Rodriquez to prepare for the Pipeline Masters as we hear the song "Youth of the Nation" by P. This sequence touched me for some reason. Anyway, everyone's heard the song by now but if you're not sure go to youtube and listen to it with lyrics; it's an incredible piece, to say the least, and dig those heartrending lyrics!
It's reality, my friend. For me, the film's just compelling enough to give a marginal thumbs up. Fans of surfing and Bosworth or any of the other actors will appreciate "Blue Crush" more than me. But I was moved by the above musical interlude and one other thing What affected me most with the story is the picture of the three maids, impoverished and disdained by the snobs but full of youthful zeal and hope.
It strangely reminded me of something I experienced on my last trip to Southern California. They were Mexicans, mostly young, and possibly illegal aliens. Everyone walked by them as if they were invisible, like they were the scum of society or something.
But I made a point to acknowledge them and smile. I don't feel I deserve a medal for this or anything; it's just that I made a decision long ago that, no matter how far I go in life, I'm not going to look down on or ignore those in a more modest position.
I don't know, maybe because I'M scum. The film runs minutes. JamesHitchcock 9 September This is not an unprecedented phenomenon- "Saturday Night Fever", for example, was also based upon such an article- but it is nevertheless an unusual one. Non-fiction is a highly important part of the publishing and broadcasting industries, but the same is not true of the cinema.
There have been occasional exceptions "March of the Penguins" being a recent one , but in general film-makers have taken the position that documentaries are something best left to television.
So, despite its provenance, the story told in this film is a fictitious one. As, of course, is the story told in "Saturday Night Fever". The film's surfing sequences have been much praised, and rightly so. Like most Britons I have never tried surfing- weather conditions here are hardly conducive to it- but the exhilarating sequences in this film capture something of the sport's excitement and beauty and go some way towards explaining just why its devotees can get so fanatical about it.
You cannot, however, make an entire feature film out of surfing sequences alone. Well, you probably could, but you would have difficulty getting it shown anywhere except for a few art-house cinemas. So the film-makers had to come up with some sort of storyline to fit around them.
What they came up with is a sort of double love story, "girl loves boy" plus "girl loves surfing". The main character, Anne Marie, is a young woman living in Hawaii where she works as a hotel chambermaid. Her great ambition is to be a champion surfer and the film explores the story of how she fares when she enters a prestigious surfing competition, with a subplot about the progress of the relationship between Anne Marie and her boyfriend Matt, a professional footballer whom she meets while he is staying in her hotel.
Unfortunately, this plot is banal and uninteresting. It doesn't help that Kate Bosworth, who plays Anne Marie, gives such a poor performance; she mumbles so much that I had difficulty understanding a lot of what she is saying.
The rest of the cast are not much better, except perhaps Matthew Davis as Matt; he may not be a great actor, but at least he speaks clearly and distinctly. Yet beneath the bland, feelgood plot there are hints of something deeper and more interesting struggling to get out. We hear of two traumatic events in Anne Marie's past, of how she nearly drowned during a previous competition and as a result abandoned the sport temporarily, and of how she was abandoned by her mother who ran off with a boyfriend.
As a result Anne Marie has been forced to care for her younger sister Penny herself, with some help from her friends Eden and Lena. Don't they have children's services in Hawaii? I am naturally pretty small and, when I got the role, the producer was like, "I don't know if you can play a surfer believably.
You're going to have to put on some muscle. I gained 15 pounds of muscle, which is a lot for me. It was a completely different body shape…like putting on a costume to get into character," she added.
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