Why Watch? We’ve been at Cannes since Wednesday, we’ll be there through next week, and we’ll continue to highlight short films that have played near the Mediterranean shore through then. In 2009, this short from Mark Albiston and Louis Sutherland won a Special Distinction, and it’s easy to see why. With a subtle somberness that lets the danger of being 8 years old ring true, this story of a young boy who has to stand up to his bullies is fierce and also beautifully shot. What Will It Cost? About 15 minutes. Keep Watching Short Films

Fox and NBC have announced their fall lineup, and it’s hard not to notice some similarities between their offerings. Even beyond the standard “here’s a family comedy! Here’s a parenting comedy! Here’s some new police procedurals!” the premises of these shows are remarkably similar. So similar, in fact, that it’s like  Armageddon and Deep Impact happening right in your living room. For example, both networks have…

What happens when a legendary film critic brings is geriatric crankiness to an internet movie show? Film Jockeys follows the adventures of Carl Barker, his far-too-young production staff, the filmmakers and the movie characters that inhabit their world. Written and illustrated by Derek Bacon, it’s the perfect webcomic for passionate fans who also love spoilery scoops. For your consideration, Episode #23:

Frances Ha is new territory for writer-director Noah Baumbach. To briefly pigeonhole him as a filmmaker, he’s not the type of storyteller we expect to show someone joyously running down the street cued to David Bowie’s “Modern Love.” We’d expect to see a character breaking down talking about how much they hate the poppiness of that Bowie song and the people who love it. Roger Greenberg or Bernard Berkman wouldn’t have been a fan of that song or the character at the center of Frances Ha, Frances (Greta Gerwig). She’s Baumbach’s most conventionally likable character yet. She has plenty of financial and career drama, but, even with some of that despair, Baumach’s picture, which he co-wrote with Gerwig, has a happy personality to it. Happiness is not the a feeling generally associated with Baumbach’s directorial work, but he seems comfortable with that new territory. Here’s what the director of Frances Ha, Greenberg, and The Squid and the Whale had to say about Gremlins, his love of Woody Allen, and intimate stories:

It’s funny that our last episode was called The Greatest Escape, because this week we’ll be talking about how to survive when someone who hunts people for sport is chasing you. Or, at least, what movies have taught us about it. Hint: your chances aren’t good. With Geoff on vacation, Brian Salisbury helps us out with his Count Zaroff impression and his latest research into the only way to enjoy M. Night Shyamalan’s The Happening. Plus, we top it all off with an interview with Black Rock writer/actor/director Katie Aselton (seen running for her life above) where we don’t ask her for fantasy football tips. For more from us on a daily basis, follow Brian (@briguysalisbury), the show (@brokenprojector), Geoff (@drgmlatulippe) and Scott (@scottmbeggs) on the Twitter. And, as always, we welcome your feedback. Download Episode #19 Directly Or subscribe Through iTunes

Why Watch? In 1993, this segment from Jim Jarmusch‘s Coffee and Cigarettes won the Palme d’Or at Cannes as the Best Short Film. Somewhere in California shoves Iggy Pop and Tom Waits into a restaurant booth with a big pile of droll wi, and the atmosphere of a tragically unsuccessful first date. Part of the genius is Waits’ caustic mood — responding to just about everything Iggy Pop says with antagonism and derision. Of course, watching famous musicians swing through the awkward, all-too-familiar motions is what truly works. The stilted banter about first names, the small talk about chain restaurants, the uncomfortable goodbyes. All of them serve to absolutely destroy a romantic vision of rock stars that gets stuck in our eyes. The short also manages to make most people hungry for pie and coffee. What Will It Cost? About 11 minutes. Keep Watching Short Films

The reboot of Star Trek in 2009 was a risky move for Paramount. However, it paid off, reinvigorating the franchise that had died with the poorly performing film Star Trek: Nemesis in 2002. J.J. Abrams’ Star Trek became one of the biggest hits of that summer and introduced a whole new generation to the classic franchise. Abrams was not a Star Trek fan before working on the film (and arguably even less of one after making the movie), but that didn’t stop him and his production team from making a solid science fiction update. Throughout the commentary with his writers and producers, recorded only a month after Star Trek came out in 2009, it’s clear that the Star Wars films had a greater impact on the production team’s childhood. Maybe the search for a Luke Skywalker in the character of James T. Kirk was what made the film work so well.

In addition to its American counterpart, Ricky Gervais’s The Office has been remade in at least a half dozen different countries, including Chile (La Ofis) and Israel (HaMisrad). It’s often reductive to declare any cultural phenomenon universal or ubiquitous, but, more so than any other television series concocted during the twenty-first century, The Office approaches omnipresence. There’s something about the show’s droll depiction of quotidian cubicle drama that resonates across borders, languages, and cultures. It’s a profound statement about globalization that so many different countries recognize such a similar work environment to the point that such similar comic situations can be structured around it. For every fluorescent-lit cathedral of number-crunchers and quota-seekers, there seems to be an inevitable David Brent or Michael Scott. Since Steve Carell’s departure from the US Office, the show nose-dived into forced and contrived relationship drama. Despite its acts of trading in its trademark (and incredibly effective) cringe-humor for uninspired quirk, I’ve stuck with the show. Every now and then, The Office still delivers an inspired set-piece that reminds me of why I used to wait anxiously for a new episode each Thursday. And every now and again, characters connect genuinely and develop that way that pays off when you’ve been sticking with a sitcom through its ups and down for nine straight seasons. But The Office has made a remarkably different transition late in its last season, where the show’s focus has switched from depicting the droll absurdity of everyday middle class labor to something

  Director Baz Luhrmann is known for his grand, stylized aesthetic, but he is also known for his keen ability to place contemporary music into classic stories or those set in decades past. Whether updating the world of Romeo + Juliet from fair Verona to Verona Beach or having the leads in a musical set in 1899 sing songs like Madonna’s “Like a Virgin” and The Police’s “Roxanne,” Luhrmann always gives these musical choices a purpose whether he is bringing a well-known play into present day or infusing renewed life into the 1900s. The fact that these modern music placements actually work within these different contexts proves music really is the universal language and reminds audiences that even though these stories may not be from present day, they are certainly not dated. Luhrmann is a master at taking these stories, no matter when they were written or set, and making them feel fun, vibrant, and relevant.

These days you’re not a true thespian until you’ve gone AIDS skinny at least once for a role or, failing that, Stay Puft fat. Researching the many time actors have opted to change their bodies for a role, it became clear how many lists like this seem to pop up on the internet. Almost all these lists rate the change by how much was lost or gained. In an attempt to be different, I’ve decided not to judge this by a number but rather how much apparent pain they went though. It’s more fun that way, and sometimes it involves more than one movie. To give you an example of what I mean, check out the starting point:

Why Watch? For starters, today begins the 2013 Cannes Film Festival and this trippy short won the short film Palme d’Or back in 1955. Blinkity Blank is one of Canadian animator Norman McLaren‘s more charismatic experimental works, designed to play with persistence of vision. He scratched all of these strange little images directly onto black film leader, and accompanied them with scratches he added to the film’s optical soundtrack. Those odd noises were then added to Maurice Blackburn‘s experimental jazz soundtrack. The colorful shapes resemble abstract forms as well as the occasional bird, a favorite subject of McLaren’s. There also a number of blank frames, which he described as “sprinkling on the empty band of time.” Sometimes the shapes combine and grow, sometimes they erase one another. This fluid and immaterial rhythms of light grab fleetingly at the eye, and haunt your vision quite literally for the slightest of instants. Turn off the lights, full-screen the video and give it a shot. What Will It Cost? About 5 minutes. Keep Watching Short Films

There are a ton of great movies playing at Cannes 2013, but you can’t be there. We feel your pain. I specifically feel your pain because I’m not technically allowed back in the city (parking tickets), so I can’t partake in all the grandeur of The Croisette. We’re lucky to have the fantastic Shaun Munro reviewing for us from the sandy beaches (and watching a few films), but it’s still a bit sad to think that we have to experience the festival from the couchly confines of our home in a town whose name we actually know how to pronounce. To help bring the festival experience just one inch closer to reality, let’s all dive deep into the cold, Mediterranean-like sea of synopses, pics, clips and trailers for the films that are playing at Cannes 2013. It’s just like watching a highlight reel! Swimsuit optional:

In the days leading up to Wednesday, May 1st, Netflix subscribers scrambled to get through numerous titles on their Instant queues that were scheduled to disappear as part of their move to the Warner Archive Instant, easily the highest-profile to-date streaming archive owned and operated exclusively through a particular studio. With an expanding selection of films and television programs that range from classics like When Harry Met Sally to dozens of resurrected B-movies to truly hard-to-find films like Wim Wenders’s forgotten sci-fi epic Until the End of the World, the Warner Archive Instant is a treasure trove for any cinephile invested in the potential of the digital preservation and exhibition.*** Perhaps the best thing that can be said about the Warner Archive Insant is that its potential success should assuage fears about the digital conversion process and studios closing their vaults on repertory prints: here’s an example demonstrating how studios can utilize their back log in a way that caters to film fans and, in effect, looks to future possibilities for cinema’s past. It’s also a nostalgic foray into the most legible qualities of the classical studio system: gathered together in this archive, the monster movies and gangster films of yesteryear exhibit a collective identity that feels particularly Warners. That said, there are some notable and perhaps troubling implications about a streaming service dedicated to and exclusively run by a major studio. Warner Archive Instant resembles a digital equivalent of the exhibition methods practiced by Warners itself during the years in which

David Mitchell’s book Cloud Atlas was long considered one of those infamous “unfilmable” books. However, that didn’t stop the Wachowskis and Tom Tykwer from giving it a go when they made the epic sci-fi/historical/mystery drama. Tying together six different stories in six different genres, the film was seen as a triumph by some and a mess by others. Running close to three hours, and starring a cast of actors in multiple (and sometimes marginally offensive) roles, Cloud Atlas can be a bit of a challenge to get through, but that doesn’t mean it shouldn’t be given a chance. You might need some liquid courage to make it to the end, that is the true-true, and that is fine. Just don’t be surprised if you start seeing double (or triple or quadruple). That’s just interesting casting and lots of prosthetics.

Did you know that Stanley Kubrick‘s 2001: A Space Odyssey was an expensive career brochure for space stewardesses that featured stunning visuals and a delightful, not-at-all-horrifying surprise ending that children love? It’s true! Just ask this amazing movie tie-in comic that Howard Johnson’s included in their children’s menu back in 1968 when the film premiered. The hospitality company also had some product placement in the movie itself, sponsoring a sparse, yet relaxing Earthlight Room (while somehow failing to secure the hotel sponsorship that went to Hilton). Once you stop throwing up, this kind of thing really makes you wonder if Kubrick ever saw this glorious monstrosity or whether he was carefully guarded from the more commercial grotesqueries that came with studio filmmaking. Obviously he swallowed the product placement while presenting it in a believable way (after all, brands aren’t simply going to disappear in the future), but this connect-the-dots delivery method may have been a bridge too far. The obvious question is why they’d market a slow-burn, existential mind-shredder to children in the first place. The better question is why they’d market a slow-burn, existential mind-shredder to children without turning HAL into a cheerful, cartoon robot pal. At any rate, this is the kind of cool stuff you get while following directors on Twitter. Toy Story 3 director Lee Unkrich shared this from the truly excellent Dreams of Space blog.

Welcome back to This Week In Discs! As always, if you see something you like, click on the image to buy it. Frontline: Raising Adam Lanza 2012′s mass shooting at Sandy Hook Elementary School in Newton, CT is a tragedy that will hang in the public consciousness for years to come, and as is always the case with events like this the media and the public find themselves desperate for answers as to why and how it could have happened. PBS’ continually excellent program, Frontline, takes a look at the shooter and the sole constant in his life, his mother. The public perception of the shooter is limited to simple, catchy headlines, rumors and repeated claims of his interest in guns and videogames, but unlike the attention whores dominating the 24 hour news cycle, Frontline takes time to get to the truth of the matter. They touch upon his interests, but instead of laying blame they make a point of acknowledging that those same interests were shared by many other boys, too. The issue here is mental health and a mother in over her head, and while I’m not a fan of giving the killers additional publicity in the press (via their name) it’s worthwhile when paired with journalism done right. [DVD extras: None]

I love this behind-the-scenes video from The Amazing Spider-Man 2 because without the CGI movie magic, it makes Spidey seem like a real wizard with even more extraordinary powers. He simply waves his hands, and Paul Giamatti‘s  pants drop. No webbing required. This is Harry Potter territory. Plus, the sense of humor here is great — this is what a teenager does with great power and great responsibility. Some light humiliation followed by a few slick dance moves. The confidence is solid, but Spidey should really learn not to leave automatic weapons lying in the street. [SuperHeroHype]

Why Watch? Magically engaging and beautifully surreal, this short film from Martin Rosete begins with a narrator explaining that you’re an astronaut on an alien world with only a few minutes of oxygen left and an escape pod to get to. That sense of breathlessness pervades the story as the unreliable narrator changes his mind and changes it back again in search of a worthy metaphor for an important life moment. It’s playful to the point of looking like a blockbuster from Wes Anderson. Plus, the technical side is handled with incredible care, delivering lung-filling visuals and sound cues that punctuate and nurture the strength of every story moment. With the right blend of silliness and profundity, it’s sublime in its short story perfection. Take a deep breath, and enjoy the adventure. What Will It Cost? About 8 minutes. Keep Watching Short Films

In this week’s edition of Blog of Thrones, I’m going to tell you a few things that I learned from reading George R.R. Martin’s A Song of Ice and Fire books. Not spoilers, obviously. But insights that make this week’s episode of Game of Thrones, appropriately titled “The Bear and the Maiden Fair,” all the more poignant and interesting. Because this week’s episode is rife with symbolism and plenty of George R.R. Martin’s favorite things. It’s appropriate then, that this week’s episode is also season three’s writing credit for Martin. It’s an episode that so perfectly embues all that makes Martin a fun read, that not talking about the books a bit would be a missed opportunity. And like the show it covers, Blog of Thrones does not miss opportunities. From here, there will be advanced talking points from this week’s episode, “The Bear and the Maiden Fair.” Read on at your own peril.

Faster is not always better. Those words are probably considered sinful in a society that seems obsessed with 4G networks, high-speed digital processors, fast cars, and television shows where contestants are given arbitrary time limits to create gourmet meals. However, there is truth behind the cliché “slow and steady wins the race.” Ray Harryhausen‘s work took time. He, nearly single-handed, affected motion picture visual effects and created iconic creatures that would haunt the imaginations of generations of some of the most creative, successful motion picture artists today. If you are reading this article, you probably are well aware of Mr. Harryhausen’s exploits and for those of you who are not – just Google/Netflix him and educate yourselves. His life’s contributions are too many and too important to condense down into a few sentences. What needs to be recognized is that he is a symbol of something that speaks to anyone who is possessed of following their dreams; he decided at a relatively young age what he wanted to do, then did it with such skill that he has transcended motion picture technology to become a legend.