MCN Columnists
Noah Forrest

Frenzy On Column By Noah ForrestForrest@moviecitynews.com

The List

It’s always difficult to put a year-end list together and it always makes me a bit saddened by the fact that some films have inevitably fallen through the cracks and will go unseen by me. As usual, I plowed through over two hundred films this year, but I still haven’t seen all the ones I…

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Matteo Garrone Director of Gomorrah

This week Noah talks Matteo Garrone, director of Gomorrah, about Italian mafia, Italian cinema and the conventions of the American gangster movie. Listen to Noah Forrest Podcast with Matteo Garrone

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The Frenzies

It seems everywhere you look these days, there’s some different group of folks that are handing out awards to films and actors that they feel are the ‘best’ in a particular category. I figured that I might as well start giving out some awards of my own in different sorts of categories that you might…

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John Patrick Shanley

This week Noah chats with writer/director John Patrick Shanley about his new film Doubt, his last film Joe Versus the Volcano, working with Meryl Streep, and the wonder of Sabu. Listen to Noah Forrest Podcast with John Patrick Shanley

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Doubt Grows

I was originally going to devote a column to Doubt about three weeks ago, but I’m really glad that I didn’t. That extra time allowed the film to marinate a little bit longer in my mind, which turned out to be necessary for me to come to my ultimate conclusion. With most films, my reaction as…

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Hey Oscar, Don’t Forget the Subtle Gals!

Last year when I wrote this column, it was to praise two young men for terrific lead performances that I thought wouldn’t get the recognition from the Academy because Oscar doesn’t often reward subtlety. It turns out I was right and Emile Hirsch(Into the Wild) and Casey Affleck (Gone Baby Gone) did not get nominated for those…

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Frenzy On Column

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“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

“They’re still talking about the ‘cathedral of cinema,’ the ‘communal experience,’ blah blah. The experiences I’ve had recently in the theatre have not been good. There’s commercials, noise, cellphones. I was watching Colette at the Varsity, and halfway through red flashes came up at the bottom of the frame. A woman came out and said, ‘We’re going to have to reboot, so take fifteen minutes and come back.’ Then they rebooted it from the beginning, and she had to ask the audience to tell her how far to go. You tell me, is that a great experience? I generally don’t watch movies in a cinema at all. Netflix is the future. It’s the present. But the whole paradigm of a series, binge-watching, it’s quite different. My first reaction is that it’s more novelistic, because if you have an eight-hour season, you can get into complex, intricate things. You can let it breathe and the audience expectations are such that they will let you, where before they wouldn’t have the patience. I think only the surface has been touched with experimenting with that.”
~ David Cronenberg