Welcome to Framed, a column at Cinematical that celebrates the artistry of cinema -- one frame at a time.
Zack Snyder's 300 is a divisive film -- a title loved by fanboys and action junkies who hail it as one of the best movies of the past decade, yet looked down upon by other cinephiles who find all the growling dialogue and super slow motion hard to take seriously. One thing nearly everyone can agree upon is that it's a film with a very unique visual look.
Filled with hyper-stylized colors and computer-generated imagery, 300 is literally a comic book brought to life. Frank Miller's graphic novel is recreated with exacting detail in some sequences, which is at least part of why the comic crowd loves the film as much as they do.
Unlike most installments of Framed, this one isn't so much about how the director and cinematographer worked together to get a great shot. 300 is indicative of a newer kind of filmmaking -- one where visual effects supervisors and CGI artists are nearly as important as the cinematographer himself. Regardless of whether or not you think 300 is good, it's hard to argue against it being visually stunning. Even someone who's not a fan of CGI -- like myself -- finds some of the images in Snyder's film absolutely breathtaking. Is it an exercise in style over substance? Definitely -- but that style is still impressive.