MCN Columnists
Noah Forrest

Frenzy On Column By Noah ForrestForrest@moviecitynews.com

Inglourious Masterpiece

To be quite honest, I walked into Quentin Tarantino’s latest film wanting desperately to hate it. Like a lot of cinephiles of my generation, I actually have Tarantino to thank for deepening my love of movies; his films were a catalyst for me to go and seek out everything I could find.  It was Clockwork Orange that…

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Summer Frenzies

At the end of last year I had my first annual “Frenzies,” which is my way of giving honor (or dishonor) to certain films throughout the year. It is my own personal version of the Oscars and to receive one of these coveted awards is, I’m told, the highest honor that an actor or filmmaker…

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The 10 Movies You Should be Excited About This Fall

As usual, this summer was one that emphasized explosions over character development at the box office.  However, there were a few movies that almost seemed out of place amidst the sea of dross, films like The Hurt Locker, Up, or In the Loop.  These films were so good that they made the dreck likeTerminator Salvation, Wolverine, andTransformers 2 seem…

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Judd Apatow is a Funny Person

Judd Apatow is funny.  I mean that in both sense of the word.  There is, of course, no doubt that Apatow is one of the funniest comedy writers out there and he is one of my personal favorites.  I think the films and TV shows that he has shepherded into production have been some of…

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Longing for a Real Romantic Comedy

I forced myself to do a double-feature of the two most recent and most successful “romantic comedies” in theaters, The Proposal and The Ugly Truth.  I used the term “romantic comedy” loosely because there isn’t a whole lot that is either romantic or funny about either film.  Both films lack anything resembling a realistic romance that an…

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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