MCN Columnists
Noah Forrest

Frenzy On Column By Noah ForrestForrest@moviecitynews.com

Frenzy on the Wall: I’m Not Scared of Slamming Doors

I can’t understand why anyone would stay in these situations. I mean, why wouldn’t you move out of this house? I understand there are real-world difficulties to maneuver, like mortgages and such, but if there is an entity in my house that is threatening my family, I think I’ll just put the house on the market and move to a hotel for a few months.

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Frenzy on the Wall: Everything Old is Old Again

I had no interest in seeing The Expendables this summer. I loved ’80s action movies as much as the next person; hell, I grew up watching movies like Commando over and over again. Even now, if I catch an old Schwarzenegger or Stallone flick on cable, I find I still have a sentimental attachment to…

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Frenzy on the Wall: A Sad State of Affairs

Let me start by saying that I didn’t see Life as We Know It because I’ve already seen it. Chances are you’ve seen it too. Based on the premise and the trailer, I’m fairly confident that I could predict every beat in that film. Not only do I know everything that will happen in it,…

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Frenzy on the Wall: Is The Social Network Fincher’s Best Film?

The Social Network is the best film of the year so far and we’ve got three more months to go, but I feel it’s safe to say that it’ll be somewhere near the top of my ten best list in December. However, where does it rank with other Fincher films? That’s what I’ve been debating ever since I walked out of the movie and I’ve been wrestling with it all weekend.

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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