MCN Columnists
Kim Voynar

Voynaristic By Kim VoynarVoynar@moviecitynews.com

Slumdog Millionaire and the Politics of Spin

What is it with the media’s insistence on attempting to spin stories to harm particular films? After enjoying the bounce of positive buzz from the Telluride and Toronto film festivals, solid critical support and a box office take bigger than anyone could have dreamed for a subtitled Bollywood hybrid, Slumdog Millionaire finds itself the target of…

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Deconstructing Oscar

Published under Oscar Outsider. Last week, those of us who were at Sundance had to pull our heads briefly out of the myopic world of Fest Coverage and back into the myopic world of Oscar Coverage when the all-important Oscar nominations were announced. Clearly, the people who run the Oscars hate those of us who…

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Sundance: It’s a Wrap

In the year of its 25th anniversary, the Sundance Film Festival coincided with the inauguration of a new president who offers hope to a country beaten down by war and a tough economic climate; it’s the first time in my own adult life I’ve ever cared enough about the inauguration to block out time on…

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Here We Go Again: The Foreign-Language Oscar Shortlist

Published under Oscar Outsider. The Oscar shortlist for foreign films was announced yesterday, and in spite of the rules changes that were supposed to stop such things from happening, Matteo Garrone‘s Gomorrah failed to make the short list. Really shocking omission, considering the film won the the Grand Prix at Cannes, the Silver Hugo, and has been…

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No Regrets: Why Even “Amateur” Films Deserve Honest Reviews

Should film critics differentiate or consider whether a given film is “professional” or “amateur” either in reviewing a film, or in deciding whether a film should even be reviewed at all? There’s been an interesting discussion about reviewing “amateur” versus “professional theater” on The Stranger‘s SLOG between critic Paul Constant and his editor, Brendan Kiley, that seems apropos…

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Originality Matters (Page 2)

Published under Oscar Outsider. Joel Coen and Ethan Coen, Burn After Reading I’ve written before that I’ve been befuddled by the rather tepid response to the Coen brother’s latest film, which I think is one of their better dark comedies.  The Coens are masters at exploiting the flaws and foibles of ordinary characters in extraordinary…

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Originality Matters: Considering the Best Original Screenplays of the Year

Published under Oscar Outsider. Spoiler Warning: This column contains heavy spoilers for the films The Wrestler, Happy-Go-Lucky, Burn After Reading, The Visitor and Frozen River. What elements set apart a few screenplays out of all those produced each year from the rest of the pack as we head into Oscar season? All scripts have certain…

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When Good Foreign Films Get Bad Remakes

We hear a lot about how American remakes of foreign films tend to be pale imitations of the original, and there’s more truth than stereotype to that sentiment. But are American remakes inferior because they’re made by Americans, or is there an inherent value in the unique cultural perspective of a foreign film that gets…

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Quote Unquotesee all »

“Any time a movie causes a country to threaten nuclear retaliation, the higher-ups wanna get in a room with you… In terms of getting the word out about the movie, it’s not bad. If they actually make good on it, it would be bad for the world—but luckily that doesn’t seem like their style… We’ll make a movie that maybe for two seconds will make some 18-year-old think about North Korea in a way he never would have otherwise. Or who knows? We were told one of the reasons they’re so against the movie is that they’re afraid it’ll actually get into North Korea. They do have bootlegs and stuff. Maybe the tapes will make their way to North Korea and cause a fucking revolution. At best, it will cause a country to be free, and at worst, it will cause a nuclear war. Big margin with this movie.”
~ Seth Rogen In Rolling Stone 1224

“Yes, good movies sprout up, inevitably, in the cracks and seams between the tectonic plates on which all of these franchises stay balanced, and we are reassured of their hardiness. But we don’t see what we don’t see; we don’t see the effort, or the cost of the effort, or the movies of which we’re deprived because of the cost of the effort. Paul Thomas Anderson’s Inherent Vice may have come from a studio, but it still required a substantial chunk of outside financing, and at $35 million, it’s not even that expensive. No studio could find the $8.5 million it cost Dan Gilroy to make Nightcrawler. Birdman cost a mere $18 million and still had to scrape that together at the last minute. Imagine American movie culture for the last few years without Her or Foxcatcher or American Hustle or The Master or Zero Dark Thirty and it suddenly looks markedly more frail—and those movies exist only because of the fairy godmothership of independent producer Megan Ellison. The grace of billionaires is not a great business model on which to hang the hopes of an art form.”
~ Mark Harris On The State Of The Movies

The Hobbit: Battle of the Five Armies