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 »

“I don’t know, because I don’t know much about those cameras. I know that’s been a complaint, but I wouldn’t know. Film is what worked for this film. I have a fear of the unknown. I’ve spent a long time trying to learn one camera, and to fucking stop and try to learn another one… I would have to stop for 20 years! I’m a slow learner; I’d have to go through the manual, it would be starting over. So there’s that, too. It’s an issue for filmmakers, and it’s on people’s minds, and I have to say that it’s a lot more challenging and difficult just to kind of get somebody to show film or to print film. It’s far more challenging than it should be right now, and we’re just trying to keep it alive a little bit and create a little pocket where it can be shown that way in various places across the country right now.”
~ Paul Thomas Anderson To David Ehrlich On The Prospect Of Switching From Film

“Almodóvar–the first name is almost unnecessary–is a genius, is a flower, is a guiding light: the last, best son of Buñuel and so much more than that. His screenplays, which he directs with passion and fine care, have taught us about the exteriors of his native land and the interiors of our own hearts. From the early, manic experimental Super-8 work to the breakthrough Women on the Verge of a Nervous Breakdown, his titles are as evocative as most people’s screenplays. Yet for all their antic energy, Almodóvar’s films are deeply spiritual: watching his disturbing, mysterious, heart-rending Talk to Her is to understand, perhaps for the first time, the full meaning of grace. An Almodóvar screenplay is a running leap off a Gaudi balcony, it flips, soars, ascends, careens, tumbles, falls – always landing, astonishingly and astonished, on its feet.”
~ Howard A. Rodman, Announcing Almodóvar’s Jean Renoir Award