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"There's a directorial flourish and then there's self-parody — and Abrams promises he's easing up on his signature stylistic tic of shining lights directly into anamorphic lenses to create flares. He could explain it away in the Star Trek films ("the future is so bright!") but admits he has no excuse for Super 8. He recalled how one shot in Star Trek Into Darkness was so overrun by lens flare his wife shouted that she couldn't see Alice Eve. He made an effort to tone it down for The Force Awakens, and when he spotted his lighting crew bringing large spotlights onto the set he would joke "these aren't the flares you're looking f

Most movie audiences head to the theater to see a story exactly as its told, without looking too closely at the plots, characters, or lines of dialogue. But for the diehard fans always searching for added meaning, some twists, names, or confusing quotes can make even a classic movie twice as much fun to wa

Additionally, Stephen Colbert also asked Abrams about his penchant for lens flares. It's no secret that Abrams is notorious about including (sometimes unnecessarily) a number of big, bright, and game reviews|https://movietriviafocus.Com/ distracting lens flares in all of his movies. It's actually a popular Internet meme anytime Abrams announces a new project. The director is well aware of the number of lens flares he used in the past, but affirms that he reduced the filmmaking flourish for The Force Awakens . From Jordan Hoff

The prequels tend to get a rough ride from fans, but what if we told you one of the saga's greatest moments was hidden in the background of Revenge of the Sith ? Believe it. When Obi-wan is hunting down General Grievious, clone troopers are fighting battle droids all around him. For a split second, one clone trooper can be seen squaring off against a droid, dropping it with a stiff jab to the head, and a brutal body blow. Easy to miss or not, why this trooper isn't worshipped as one of the franchise's coolest heroes is beyond us - but now's a good time to st

James Cameron's 3D blockbuster smash may have taken audiences to an alien world, but it begins at home, in a futuristic Earth. Actually, Avatar begins in a dream sequence, with the movie’s hero Jake Sully explaining that his sleep has become filled with visions of flying ever since he was wounded in combat, opening his eyes every morning to find he's still confined to a wheelchair. His adventure on the planet Pandora piloting an artificially-grown human/Na-vi hybrid allows him to do more than fly, successfully defending the planet from his own side’s forces. The final shots of the movie mirror the beginning directly, showing Jake once again opening his eyes – this time, to a new body, a new people, and a new purpose. To take things further, the end credits are run over the exact same shots of flying as Jake's first dr

There's one fact that no one can deny: the Disney animators are most certainly dog people. And what's better than a canine adventure? How about a shared universe of them? 101 Dalmatians has enough spotted dogs in a single family to worry about, but when the call goes out that the pups are in trouble, Lady and the Tramp can be seen in the city streets, along with their canine co-stars Jock and Peg. The litter's father, Pongo also makes a Cameo in Oliver & Company, along with Jock, Peg, and the always loyal Tru

A good witch or wizard needs a trusty pet, and for Harry Potter, Hedwig the Owl went above and beyond the call of duty. The bird's dedication to the boy wizard made her a hit with fans, and broke their hearts when she sacrificed her life to protect Harry in The Deathly Hallows . A righteous death for the boy she loved should have been expected. In the books, Hedwig takes her name from a medieval witch or wizard. But in the real world, Hedwig is the patron saint of orphaned and abandoned children - making her the perfect guardian for the movie's h

There are some who might say a movie’s entire message is sent by how it begins, and how it ends. But rarely do directors actually treat their first and final shots with so much importance. Unforgettable views, moments of triumph, or witty dialogue can all make a cut-to-black and end credits seem perfectly timed, but some directors go the extra mile, crafting a start and finish that add an extra level of storytelling for viewers paying close attent

Director Martin Scorsese wasn’t exactly subtle with the tension and terror of Cape Fear , the story of a convicted criminal who seeks revenge on the lawyer who put him there, terrorizing him and his family, particularly his teenage daughter. Beginning the movie with chilling music and a blood red close-up on the daughter’s eyes warns audiences that the story she’s about to recount is a violent and truly unsettling one, due in large part to Robert De Niro’s acclaimed performance as the film’s villain. The family survives in the end, with the lawyer successfully killing his former client - but the damage has been done. To remind viewers that Cape Fear is as much about the loss of innocence as it is about revenge or protecting your family, the film returns to the "spared" daughter, this time fading from innocent white to red – and keeping audiences from feeling too good about its happy end