A good movie owes a lot to great writing and acting. But the people responsible for the rhythm of emotional arcs and intimate moments of conflict are rarely if acknowledged. Those people are film editors, and counterintuitively, an editor is often at their best when their work is totally invisible.
Rejoice! Tony Zhou has released his latest installment of Every Frame A Painting: this time, the focus is on how Vancouver always used as a setting for cities around the world, but never itself. It’s like a weirdly familiar character actor that you see everywhere.
BBC's Sherlock does a pretty top-notch job of portraying text messages, but as Tony Zhou points out in the latest installment of Every Frame a Painting, cinematic representations of the digital world – including texting and the Internet – remain, for the most part, inefficient, ineffective, and uninspired.
We're big fans of Tony Zhou's cinematic analyses, but we're especially fond of his recent breakdown of Michael Bay's visual approach, which manages to acknowledge the director's knack for spectacle while identifying him as a slave to his own system – a gratuitous, over-evolved action style we love to hate.