By Ray Pride Pride@moviecitynews.com

Kumail Nanjiani On The Funny

“Great rom-coms are about something. Sleepless in Seattle is really about grieving and moving on. And When Harry Met Sally is just a great account of two people and their relationship growing over a decade. It’s become a denigrated genre. In the 2000s, they were really churning them out so hard that the quality dropped. It’s like what happened with fantasy films. Studio execs were like, “Lord of the Rings! People want to see sword-and-dragon-type things!” No, people just want to see great stories. Hollywood always takes the wrong lesson from successes.”
Kumail Nanjiani On The Funny

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“I never accepted the term contrarian. I think that’s offensive, frankly. And my response to that is: if I’m a contrarian, what are other reviewers? What I strive to do is be a good critic, not somebody who simply accepts the product put in front of me. I guess it scares people to think that they don’t have any originality; that they don’t have the capacity to think for themselves.

“There’s a line a lot of reviewers use that I don’t like at all. They say ‘accept the film on its own terms.’ What that really means is, ‘accept the film as it is advertised.’ That’s got nothing to do with criticism. Nothing to do with having a response as a film watcher. A thinking person has to analyze what’s on screen, not simply rubber-stamp it or kowtow to marketing.”m

“To me, everything does have a political component and I think it’s an interesting way to look at art. It’s one way that makes film reviewing, I think, a politically relevant form of journalism. We do live in a political world, and we bring our political sense to the movies with us – unless you’re the kind of person who goes to the movies and shuts off the outside world. I’m not that kind of person.”
~ Armond White to Luke Buckmaster

“One of comedy’s defining pathologies, alongside literal pathologies like narcissism and self-loathing, is its swaggering certainty that it is part of the political vanguard, while upholding one of the most rigidly patriarchal hierarchies of any art form.”
~ Lindy West