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 »

“Let me put this bluntly, in language even a busy blogger can understand: Criticism — and its humble cousin, reviewing — is not a democratic activity. It is, or should be, an elite enterprise, ideally undertaken by individuals who bring something to the party beyond their hasty, instinctive opinions of a book (or any other cultural object). It is work that requires disciplined taste, historical and theoretical knowledge and a fairly deep sense of the author’s (or filmmaker’s or painter’s) entire body of work, among other qualities.”
~ Richard Schickel

“When Barry Jenkins introduced Moonlight, he said he hoped we see ourselves in the characters. We’re thrown into neighborhood combat with 10-year-old Chiron in Miami’s Liberty City where the empty lots, abandoned buildings, sidewalks — the shortcuts and escape routes — are his total known world. We intake vividly, like a 10-year-old, the cruel, the generous, the strangeness of others, the crack-addled neglect in a home he can’t escape. Jenkins’ characters’ lives move on, get stunted, are dulled to stupefaction, end tragically, end in separation. Moonlight is Chiron’s world. It’s the current lower-middle class, working class, disenfranchised- and-alienated-class world. Intimacy is Jenkins’ accomplishment. But, what we’re intimate with is another consciousness so totally and truthfully created, that we’re looking outward and inward simultaneously. That’s why Jenkins’ work is profound. Chiron is us and we are him, asking ourselves, ‘Who am I? Where do I fit?'”
~ Michael Mann On Moonlight