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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 »

“At one point in the comedy dead zone known as Seth MacFarlane’s Ted 2, the title character—a stuffed toy bear voiced by Mr. MacFarlane—and his dimwitted best friend, John (Mark Wahlberg), visit a comedy club to engage in a favorite pastime: throwing bleak improv ideas at the comics onstage. So, seated in the back of the auditorium while cloaked in darkness, the friends start shouting out suggestions like 9/11, Robin Williams and Charlie Hebdo to the unnerved comics. The topics don’t mean anything to Ted and John, who, like Mr. MacFarlane, take great pleasure in making others squirm. They could have just as easily yelled gang rape, the Holocaust and dead puppies.”
Manohla Dargis on Ted 2

“You never expect a movie to hurt you. Disappoint? Dismay? Depress? Fine. But when a movie has a field day asserting the humanity of a fake toy bear at the expense of your own, it hurts. I was led to believe, in part by the posters, that I was getting a movie about a character who’d be masturbating or urinating with his back to us. They should’ve turned Ted around since the emissions are aimed at the audience… MacFarlane doesn’t appear to believe in anything. He just likes to mess around with things that still have value without seeming to get whether that value is greater than his jokes. It’s as if he doesn’t really know what he’s laughing at or care what race and sexuality and gender are. It’s as if he doesn’t know women or black people — just white comedy writers who love to make fun of them.”
~ Wesley Morris On Ted 2

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