MCN Columnists
Kim Voynar

Voynaristic By Kim VoynarVoynar@moviecitynews.com

Revisiting Synecdoche

SPOILER WARNING : This column is an analysis of Synecdoche, New York and contains heavy spoilers. I saw Charlie Kaufman‘s sublime film Synecdoche, New York for the third time at this year’s Ebertfest. I was interested to overhear the post-screening conversations outside the Virginia Theater after the screening, because I’ve always connected strongly to Kaufman’s work, and…

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Why Kick-Ass Isn’t Reprehensible, Morally or Otherwise

Now that I’ve reviewed Kick-Ass, the movie, I thought I’d take a moment to write about the most controversial aspect of the film: Hit-Girl, the 11-year-old vigilante trained by her father to kill bad guys. The part of Hit-Girl, played rather brilliantly by the now-13-year-old Chloe Moretz, begs the question (yet again) of where the lines in…

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Anime, Hot Chicks and Feminism

What’s so great about anime and manga? And isn’t most of it sexist and objectifying of women, anyhow? I am not an anime expert, but I do know about vile attitudes towards women, and in general, I find more in anime and manga that’s empowering towards women than vile. While it’s true that some anime…

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Quote Unquotesee all »

A statement from David Chase’s representative, Leslee Dart:

A journalist for Vox misconstrued what David Chase said in their interview. To simply quote David as saying,“ Tony Soprano is not dead,” is inaccurate. There is a much larger context for that statement and as such, it is not true. As David Chase has said numerous times on the record, “Whether Tony Soprano is alive or dead is not the point.” To continue to search for this answer is fruitless. The final scene of THE SOPRANOS raises a spiritual question that has no right or wrong answer.
~ David Chase Refutes Vox Writer

“By the time the sounds of the Von Trapp children warbling ‘Silent Night’ drift through The Giver, you may find yourself wondering what fresh movie hell this is. In truth, the enervating hash of dystopian dread, vague religiosity and commercial advertising-style uplift is nothing if not stale. Adapted from Lois Lowry’s book for young readers, the story involves an isolated society that, with its cubistic dwellings, mindless smiles, monochromatic environs and nebulous communitarianism, seem modeled on a Scandinavian country or an old Mentos commercial.”
~ Manohla Dargis’ Deadly Lede For Review Of The Giver