MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

A.O. Krazy

Here is A.O. Scott’s piece on why we should be reading political subtext into Just Like Heaven and The Exorcism of Emily Rose.
My read? Put down the pipe, Tony. I know that every molecule of our body could be, like, an entire universe and we could just be one atom in the body of a giant… but dude, you need to mellow that harsh.

10 Responses to “A.O. Krazy”

  1. Angelus21 says:

    Not every movie is a political statement. They’re movies. They’re meant to entertain first. If they fail that then whatever they do won’t matter.

  2. mutinyco says:

    Critics not using psychotropic substances would be like having to eat matzoh all year round instead of just one week. Bread needs moisture. The best enhanced criticism ever is Amy Taubin’s assessment on the Reservoir Dogs DVD — where she claims it’s really about a masochistic love story between Mr. Orange and Mr. White, and since Orange is bleeding he’s the female.

  3. Heiron says:

    David’s well-played snark aside, when Scott claims the studios “have tried to strengthen their connection with religious and social conservatives,” is this something that’s happening? Or even significant?
    And on a separate tack, what ARE some of the great undiscovered subtexts of our favorite flicks? I keep telling people the hallway hues of “Napoleon Dynamite” are eerily reminiscent of the colors of Alfred Nobel’s summer villa on Elba, and they keep telling me I’m an idiot.

  4. Joe Leydon says:

    Godard once claimed that EVERY film is a political act. Indeed, if a film doesn’t make any explicit political statement, then it is implicitly supporting the status quo. That’s a bit extreme, I’ll grant you. But is interesting to see how seemingly innocuous films of a bygone era — even something as frothy as “Pillow Talk” — can be more revealing and enlightening than most historical or anthropological overviews of the period

  5. Crow T Robot says:

    I don’t know… Ghost Whisperer… My Name Is Earl… even the Dukes of Hazzard movie… I’m certainly seeing a leaning to the red states recently.
    And yes, Speilberg seems to be on a 9/11 tear with “The Terminal,” “War of the Worlds” and now “Munich.”
    I sure do miss Bill Clinton.

  6. jeffmcm says:

    Joe L., you’re completely correct. It’s the least self-conscious movies that are often the most revealing, like an innocuous dream that reveals a patient’s subconscious.
    Thanks to Dave P for attempting to keep the dialogue at a less interesting, dumber level. Scott makes some really good points and doesn’t say anything that crazy, in my opinion.

  7. Stella's Boy says:

    I agree jeff. I kept waiting for Scott to say something really out there, but it all seems perfectly reasonable and accurate to me.

  8. joefitz84 says:

    Jeff thinks its a big right wing conspiracy. They control everything. They made hurricanes!!! Earthquakes!!! Poverty!!! Hold onto your hats!

  9. KamikazeCamelV2.0 says:

    Not to get into a Spielberg debate again, I found it extremely odd that he decided to make War of the Worlds a very Politically minded film whereas The Terminal, which by all rights should have been more of one, was left as a frothy rom-com with Tom Hanks doing a funny accent.
    It wouldn’t be hard to find 9/11 and WW2 parallels in War of the Worlds though. It’s not like they’re subtle or anything

  10. lindenen says:

    “I don’t know… Ghost Whisperer… My Name Is Earl… even the Dukes of Hazzard movie… I’m certainly seeing a leaning to the red states recently.”
    I haven’t seen Ghost Whisperer, but the other two only lean toward the red in so much as they depict red-staters as knuckle-dragging morons.

The Hot Blog

Quote Unquotesee all »

“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch