09.06.13 |
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Nathan Rabin over at The Dissolve is just on fire with his “Forgotbusters” column, an examination of high grossing films that now look dated culturally. This review of the movie adaptation of Michael Crichton’s Rising Sun is especially biting. For instance:
In a sequence that plays unmistakably like a clueless middle-aged white person’s conception of what a culture clash between the Japanese and denizens of the ghetto might entail, [main protagonist] Smith has his inner-city friends menace the Asian thugs that are after them in a manner that would feel more appropriate in a wacky comedy than the stirring wake-up call Crichton intended.
08.07.13 |
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A terrific first person account from The A.V. Club’s TV editor Todd VanDerWerff, writing here for Grantland:
Through the rest of the evening, when people find out I was in Hall H, they ask me how it was, in terms you might usually reserve for a theme-park ride, and I have to admit that it was a lot of fun. But it doesn’t really last for me. It’s a series of carefully constructed moments, designed less to be long-lasting memories than in-the-moment staccato bursts of emotion. The reason to go to Hall H isn’t for the proximity to stars or the exclusivity of the footage — it’s to go to Hall H itself, to add this experience to the memory bank. For me, the day already begins to fog over, turning into a muggy haze.
08.02.13 |
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Director Nicolas Winding Refn, interviewed by The Dissolve:
Television has gotten much more aggressive, and much more mind-expanding and progressive than cinema, which is still the crown jewel, and will always be the crown jewel. We need to remember that cinema is not just about, “How much money did you make on Friday to Monday?” but also, “What is your actual interest?” Filmmaking is an art form, and the art can inspire. But if everyone’s afraid of standing out and risking polarization, which essentially means it’s a singular vision, then the world will become less interesting.
It’s a well spoken point. Among the film critics I follow on Twitter, TV discussion comes up again and again; we’re truly in a remarkable time period. I just haven’t seen film take the same risks over the last year or so, at least compared to years prior.
Alas, Refn’s “singular vision” reached a point of near parody in Only God Forgives. I’m generally a big fan of Refn’s work, and Only God Forgives is a visually striking, haunting film with a great Cliff Martinez score. But by the end the style excess and lack of dialogue felt suffocating.
07.25.13 |
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I thought I had the basics of aspect ratio down cold, but this video by filmmakeriq.com taught me some new material (e.g. why widescreen TVs settled on 16:9 as the HD standard). It’s also very well edited with solid narration and starts simple enough that newbies won’t have trouble following along.
07.19.13 |
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I admittedly was a bit skeptical when I first heard about The Dissolve. Between SlashFilm and The A.V. Club, did we really need another big film web site? And it’s from the team behind Pitchfork?
But then I dove in after its debut late last week and I’m very glad I did. The content itself is excellent, written by a lot of writers I have respect for: Keith Phipps, Scott Tobias, Matt Singer and many more. There’s something also of a happy medium ground The Dissolve is getting at in terms of its content posting frequency. There’s less constant updates a la A.V. or SlashFilm, but they make those posts count.
There’s something to be said for the site’s visual design as well. In contrast to the all white ultra modern and minimalist trend, The Dissolve is a bit mellow and old school that’s heavy on serifs and warm, off white colors. I’ve already added their features and reviews RSS feeds to my feed reader.
07.12.13 |
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It’s almost too easy to link to another Film Crit Hulk piece given his consistency. But this is another 10000 words easily worth your time if you’re interested in film, especially screenplays for big budget films over the summer (or have always had a bit of skepticism over J.J. Abrams’ skill overseeing screenplays.)
Here’s my favorite part:
LET’S GET HYPOTHETICAL: IF YOU (THE REAL YOU READING THIS NOW) WERE WALKING DOWN THE STREET AND SOMEONE CAME UP TO YOU AND YELLED, “Quick! I’m your long-lost brother you never knew you had! Someone’s after me! We have to run!!!!” YOU WOULD BE COMPLETELY TAKEN OFF-GUARD, WOULDN’T YOU? NOW, WOULD YOU BE CURIOUS? WOULD IT BE CRAZY? WOULD IT BE EXCITING? SURE! BUT YOU WOULDN’T EXACTLY BE INVESTED. YOU WOULD BE SUSPICIOUS. YOU WOULD DISTANCE YOURSELF. MEANWHILE, IF YOUR ACTUAL BROTHER THAT YOU’VE KNOWN AND LOVED YOUR WHOLE LIFE SHOWED UP AND SAID “Quick! Someone’s after me! We have to run!” YOU WOULD BE MUCH MORE INVESTED! IT’S YOUR BROTHER, AFTER ALL. BOTH ARE YOUR “BROTHERS” BUT ONE IS A PERSON WITH WHOM YOU HAVE A SHARED HISTORY AND LOVE. YOU HAVE ALL THE RELEVANT INFORMATION TO YOUR BOND THUS THERE WOULD BE A SUBSTANTIAL ROOTING INTEREST. AND BETWEEN THESE TWO SCENARIOS, THE MORE DRAMATIC AND COMPELLING SITUATION SHOULD BE OBVIOUS, RIGHT?
06.03.13 |
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Julie Delpy, delivering an important message to Alamo Drafthouse moviegoers:
He’s talking and texting at the same time, is this your living room? What’s your f**king problem man?
Anyone who’s a fan of Before Sunrise/Sunset/Midnight is going to love this one. I certainly did.
05.31.13 |
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Matt Zoller Seitz on today’s great era of TV direction:
Where’s their MoMA retrospective? Why is there no auteur theory of TV?
One explanation is that movies have a half-century head start on TV, so there’s been more time for critics to settle on terms and definitions. I like to tell people that TV, as both business and art, is at roughly the same place in its development as cinema was in the late fifties, around the time that the French floated the auteur theory. We’re still figuring out who the “author” is on TV shows. We’re still taking into account whether we’re talking about the show as a whole or a particular episode, and why. We rarely think of TV as being directed, unless the show’s main creative force has already been identified as a theatrical director (as David Lynch was before Twin Peaks) or doubles as the show’s star (like Louis C.K. or Lena Dunham).
I’ve become more aware of reoccurring TV directors on shows as varied as Breaking Bad, Game of Thrones and even New Girl. I know there’s a “voice” there, but I admit I rarely make a connection with what’s onscreen the way I do with a “name” film director. Seitz helps explain why.
05.20.13 |
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A fun, breezy conversation with actor Alec Baldwin as he raids the Criterion Collection closet. Good selections.
05.17.13 |
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Even smiling during outtakes, the late Dennis Hopper in his Frank Booth outfit scares the hell out of me.