EDITORIAL
In-Flight entertainment
The Lost World was the first feature-length in-flight movie. The Lost World's history-making debut happened on board an Imperial Airways flight from London to Paris on April 6, 1925, with signs on the aircraft heralding the moment. The 12 people on board watched as staff brought the giant reels and other equipment on board, caught for posterity on film, and ready to play on the large projection screen at the front of the cabin. Today, Major U.S. airlines like American Airlines, United Airlines, and Alaska Air are removing seatback screens from their aircraft...
Have a pleasant Friday night at the movies,
Jean Constant
David Fincher‘s “The Killer” and Michael Mann‘s “Ferrari” are two of the most visually sophisticated films of the fall season, though their approaches are as different as those two directors’ sensibilities. What the two films have in common is an attention to light, color, and framing as expressive tools that is exceptional in its precision; few movies in recent memory have guided the viewer’s eye in such an intentional and affecting manner. That’s because of something else these movies share: cinematographer Erik Messerschmidt. Just seven years ago, Messerschmidt was a respected gaffer on series like “Mad Men” and “Bones.” That changed when, on the set of “Gone Girl,” Fincher recognized Messerschmidt’s taste and talent; he promoted the gaffer to director of photography on his Netflix series “Mindhunter,” which led to Messerschmidt’s collaboration with Fincher on “Mank.” Messerschmidt’s shimmering black-and-white photography on that movie earned him some well-deserved attention — and an Academy Award for his first cinematography credit on a feature film...