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Kim Voynar

By Kim Voynar Voynar@moviecitynews.com

Different Strokes

Compare and contrast Manohla Dargis’ extraordinarily well-written piece on Charlie Kaufman’s Synecdoche, NY to this review of the same film by Rex Reed, which has been sticking in my craw since he wrote it in October.
It doesn’t even sound like these two are reviewing the same movie. I personally thought Dargis’ piece was logically thought, insightful, and beautifully wordsmithed, whereas Reed’s, though meticulously written in its own way, is just so incredibly vapid that I can only hope he actually slept through half the movie.

2 Responses to “Different Strokes”

  1. Chris Hansen says:

    Reed’s review was one of the first I read of Synecdoche, and I couldn’t get over how inane it seemed. Granted, I love Kaufman’s work, so I was pre-disposed to like his film, but Reed’s review seemed mean-spirited and pointless. It is more rant than review.

  2. John Wildman says:

    There is a time honored tradition of taking the opinion of some reviewers and doing precisely the opposite of what they suggest.
    And then there is someone like Rex Reed. What is remarkable is that he is still in print somewhere. I saw a clip of him commenting on one of those VH-1 “let’s lob bon mots at pop culture” shows and I thought “Wow. Still alive apparently.”
    Then I read this review/attack and thought, “Well, maybe not.”

Quote Unquotesee all »

“Well, actually, of that whole group that I call the post-60s anti-authority auteurs, a lot of them came from television. Peckinpah’s the only one whose television work represents his feature work. I mean, like the only one. Mark Rydell can direct a really good episode of ‘Gunsmoke’ and Michael Ritchie can direct a really good episode of ‘The Big Valley,’ but they don’t necessarily look like The Candidate. But Peckinpah’s stuff, even the scripts he wrote that he didn’t even direct, have a Peckinpah feel – the way I think there’s a Corbucci West – suggest a Peckinpah West. That even in his random episodes that he wrote for ‘Gunsmoke’ – it’s right there.”
~ Quentin Tarantino

“The thought is interrupted by an odd interlude. We are speaking in the side room of Casita, a swish and fairly busy Italian bistro in Aoyama – a district of Tokyo usually so replete with celebrities that they spark minimal fuss. Kojima’s fame, however, exceeds normal limits and adoring staff have worked out who their guest is. He stops mid-sentence and points up towards the speakers, delighted. The soft jazz that had been playing discreetly across the restaurant’s dark, hardwood interior has suddenly been replaced with the theme music from some of Kojima’s hit games. Harry Gregson-Williams’ music is sublime in its context but ‘Metal Gear Solid 4: Guns of the Patriots’ is not, Kojima acknowledges, terribly restauranty. He pauses, adjusting a pair of large, blue-framed glasses of his own design, and returns to the way in which games have not only influenced films, but have also changed the way in which people watch them. “There are stories being told [in cinema] that my generation may find surprising but which the gamer generation doesn’t find weird at all,” he says.
~ Hideo Kojima