The Hobbit: Battle of the Five Armies

By Ray Pride Pride@moviecitynews.com

Voice Media Group Hires Scott Foundas as New York-Based Film Writer

Foundas’ Film Reviews and Features will Appear across Voice Media Group’s Print Publications, Websites and Mobile Platforms

DENVER, Oct. 31, 2012 — Voice Media Group announced today that Scott Foundas will join the staff of the Village Voice as its principal film writer.

Foundas spent the last three years as associate program director at the Film Society of Lincoln Center. Before moving to New York, he was the film editor at the Voice‘s sister paper in Los Angeles, LA Weekly, from 2005 to 2009.

“I’ve long admired Scott Foundas’ film writing and I’m delighted to be able to work with him again,” said Christine Brennan, VMG executive editor. “Scott is a formidable critic and a great addition to the film coverage our papers are known for.”

Foundas’ film reviews and features will appear in all of the Voice Media Group’s publications, as well as on their websites and mobile platforms.  VMG maintains a strong commitment to film journalism, employing two fulltime writers, one fulltime editor, and many freelance contributors. Its member newspapers covered more than 750 films last year, printed weekly film features and interviews, and published dispatches from national and international film festivals.

“I am thrilled to be returning to the world of weekly movie reviewing and feature writing,” said Foundas. “The VMG team of film critics publish exceptional work — always lively and thought-provoking — and I look forward to working alongside them.”

Foundas will begin his new assignment December 3.

About Voice Media Group Voice Media Group is a privately held media company focused on the creation of original news and entertainment content across print, mobile and web properties for the culturally aware consumer. The company will own and operate thirteen leading weekly newspapers — including Village Voice (New York), LA Weekly (Los Angeles), Westword (Denver), New Times (Phoenix), Houston Press, Dallas Observer, Riverfront Times (St. Louis), New Times (Miami), City Pages (Minneapolis), New Times (Broward), SF Weekly (San Francisco), Seattle Weekly, and OC Weekly (Orange County) — affiliated digital properties, and a national sales arm, VMG National. At its outset, VMG will reach more than seven million monthly readers in print and 16 million unique desktop visitors each month, in addition to 1.2 million email subscribers, more than 5.7 million visits on mobile, and more than forty signature food, music and arts events per year nationwide. Meanwhile, VMG National will serve more than 56 partner sites and publications with weekly print circulation of 3.14 million and 94 million pageviews per month. For more information, visit www.voicemediagroup.com.

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“Yes, good movies sprout up, inevitably, in the cracks and seams between the tectonic plates on which all of these franchises stay balanced, and we are reassured of their hardiness. But we don’t see what we don’t see; we don’t see the effort, or the cost of the effort, or the movies of which we’re deprived because of the cost of the effort. Paul Thomas Anderson’s Inherent Vice may have come from a studio, but it still required a substantial chunk of outside financing, and at $35 million, it’s not even that expensive. No studio could find the $8.5 million it cost Dan Gilroy to make Nightcrawler. Birdman cost a mere $18 million and still had to scrape that together at the last minute. Imagine American movie culture for the last few years without Her or Foxcatcher or American Hustle or The Master or Zero Dark Thirty and it suddenly looks markedly more frail—and those movies exist only because of the fairy godmothership of independent producer Megan Ellison. The grace of billionaires is not a great business model on which to hang the hopes of an art form.”
~ Mark Harris On The State Of The Movies

How do you make a Top Ten list? For tax and organizational purposes, I keep a log of every movie I see (Title, year, director, exhibition format, and location the film was viewed in). Anything with an asterisk to the left of its title means it’s a 2014 release (or something I saw at a festival which is somehow in play for the year). If there’s a performance, or sequence, or line of dialogue, even, that strikes me in a certain way, I’ll make a note of it. So when year end consideration time (that is, the month and change out of the year where I feel valued) rolls around, it’s a little easier to go through and pull some contenders for categories. For 2014, I’m voting in three polls: Indiewire, SEFCA (my critics’ guild), and the Muriels. Since Indiewire was first, it required the most consternation. There were lots of films that I simply never had a chance to see, so I just went with my gut. SEFCA requires a lot of hemming and hawing and trying to be strategic, even though there’s none of the in-person skullduggery that I hear of from folk whose critics’ guild is all in the same city. The Muriels is the most fun to contribute to because it’s after the meat market phase of awards season. Also, because it’s at the beginning of next year, I’ll generally have been able to see everything I wanted to by then. I love making hierarchical lists, partially because they are so subjective and mercurial. Every critical proclamation is based on who you are at that moment and what experiences you’ve had up until that point. So they change, and that’s okay. It’s all a weird game of timing and emotional waveforms, and I’m sure a scientist could do an in-depth dissection of the process that leads to the discovery of shocking trends in collective evaluation. But I love the year end awards crush, because I feel somewhat respected and because I have a wild-and-wooly work schedule that has me bouncing around the city to screenings, or power viewing the screeners I get sent.
Jason Shawhan of Nashville Scene Answers CriticWire