MCN Columnists
Noah Forrest

Frenzy On Column By Noah ForrestForrest@moviecitynews.com

Accepting Remakes

Over the years, as the movie industry’s fetish for remaking anything and everything has become more prevalent, there have been tons of articles written about how “remakes” are destroying the very fabric of film or some such other hyperbolic thesis. You see, for me, I’ve never been truly offended by the idea of remaking a…

Read the full article »

Wondering About Slumdog

So the big show is coming up this weekend and I’m sensing an overall feeling of inevitability about the results on Sunday. And I don’t think that should be the case. The truth of the matter is that in most of the categories, each entrant is a worthy winner and if that’s indeed the case,…

Read the full article »

Kate Winslet Should Not Win the Oscar this Year

In 2007, before There Will Be Blood had been released, I talked a great deal about how I felt Daniel Day-Lewis was the greatest living actor and that there really wasn’t any competition. When the film was eventually released, I felt vindicated because he had gone one step further, cementing his status as the actor who stands…

Read the full article »

Two Lovers

When Two Lovers premiered at Cannes last May, I was looking forward to hearing the first reviews of the film; they were fairly middle of the road. I thought it had become par for the course for director James Gray to deliver a mediocre film after he wowed me with his original and bleak debut Little Odessa, only…

Read the full article »

Frenzy On Column

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