MCN Columnists
Kim Voynar

Voynar By Kim VoynarVoynar@moviecitynews.com

How I Learned to Stop Worrying and Love Family Films

Reviewing a film targeted at younger audiences begs the question: how does an adult critic evaluate a film that’s targeted in every way at a demographic to which the reviewer finds it difficult to relate? And can film journalists who are unable to let go of their grown-up mindset and get into the headspace of…

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This Year’s Little Engine That Could

Published under Oscar Outsider. Every year over Labor Day weekend, film fans descend on the small mountain town of Telluride, Colorado for the Telluride Film Festival, a fest that’s rather like an early Christmas morning for cinephiles. We buy our spendy passes not knowing what we’re going to get in return, but trusting that, for…

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For My Consideration

Published under Oscar Outsider. In the fall, a movie-obsessed writer’s thoughts turn, not so lightly, to thoughts of Oscar gold. We’re edging ever closer to the precipice that is awards season, and much as we on this side of things like to pretend awards don’t matter … they do. If you live in LA or…

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Hounddog Redux

Hounddog‘s heavy baggage was wrought in large part, according to director Deborah Kampmeier, by a disgruntled “finder” who helped secure financing to get the film through post, then demanded his 5% before the film’s team even had money in hand to finish it. When I talked to Kampmeier by phone about what happened to the film…

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Quote Unquotesee all »

“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