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Ray Pride

By Ray Pride

Opening Ebert Presents Lemire-Vishnevetsky At The Movies

One Response to “Opening Ebert Presents Lemire-Vishnevetsky At The Movies”

  1. Hallick says:

    Just as an instant first impression with nothing but the 37 seconds of footage above to discern an entire television show from, the needle on my chemistry detector is firmly in “too nice” territory. Aren’t we nice, aren’t we clean, aren’t we cozy and middle class? Aren’t we NOT going to lower ourselves to the level of actually fighting over a movie and fighting FOR a movie? I want critics who actually care too much about movies and don’t care if you can tell they do. I don’t want a critic who realizes that these are “just movies” and nothing worth getting all worked up over. God…fuck those reviewers. They can go hang out at Starbucks and gently chide people with blood in their hearts who get really excited and passionate about a great actor or a fantastic script.

    Then again, 37 seconds is 37 seconds and I don’t have a clue what these two do with the rest of the show.

Movie City Indie

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“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