MCN Columnists
Kim Voynar

Voynaristic By Kim

Kevin Smith vs. Film Critics

By now you’ve probably heard about this whole  Eric D. Snider, who Tweeted back thusly: “I don’t care what @thatkevinsmith thinks about movie reviews unless he paid to read them.” Let’s be clear here: attending free screenings is a privilege, not a First Amendment right, but it is a privilege that, generally speaking, benefits the…

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From Rapunzel to Tangled? Disney’s Dicey Decision

Hot on the heels of Kathryn Bigelow‘s historic moment as the first female to win a Best Director Oscar for making a decidedly “guy” film comes word via the LA Times from Disney that they’ve changed the title of their upcoming animated adaptation of Rapunzel to Tangled. Apparently someone at the Mouse House did a little research into why The…

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Thoughts on Oscar Night: Bigelow, Precious and a Screenplay Snub

Finally. History was made Sunday night when Kathryn Bigelow became the first woman to win an Oscar for Best Director. Surprisingly, there’s not been much posturing about whether Bigelow won the award because her work actually merited it above the work of the other nominees, or whether she won because it was “time” for a woman…

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Male vs. Female? On Double Standards in Film Criticism

A comment on a post over on Glenn Kenny’s blog got me pondering: Do the mostly male, mostly heterosexual writers who dominate the business of reviewing films have two standards — one by which they review films aimed at women, and another by which they judge films aimed at men — and does such a double-standard…

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Quote Unquotesee all »

“The eye solicited alone makes the ear impatient, the ear solicited alone makes the eye impatient. Use these impatiences. Power of the cinematographer who appeals to the two senses in a governable way. Against the tactics of speed, of noise, set tactics of slowness, of silence.”
Robert Bresson

“I used to always think that was something low-budget films could use more of — a sense of geography — and now I even think it’s big-budget movies. So often when I see a movie, I don’t know where I am and I can’t quite follow — because the pacing is always so quick, and it’s a lot of long lenses and constantly editing where you’re changing the shot. There’s something refreshing for me about looking down the street and seeing a character and panning all the way over and seeing the other character and go, okay, I know where everybody is. Now when I cut to the other character, I wonder what the other person is doing because I know where he is. I know he’s around the corner because they just showed me that, and it creates not only a sense of geography logically in the movie, but it makes the movie larger than the screen. It makes you think about it and it creates suspense. We used to be really good about that, but [with] the ADD-ness of people now, we’re always moving the plot along so fast, you don’t get a sense of where you are and where everybody is and that’s doing a disservice to movies.”
~ Ti West On What More Movies Need

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