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Old MCN Blogs

Film Fatale

DOOMSDAY: Neil Marshall Interview

Marshall’s action-movie fandom shows up in spades in the movie’s climactic chase, a ten-minute free for all that owes as much to Roadrunner cartoons as it does to Mad Max. (Though the writer-director admits that he “annoyed” his music composer by using John Carpenter’s film music as a temporary score, he had only one track in mind for the movie’s finale: Frankie Goes To Hollywood’s “War.”)

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TERMINATOR Time Loops

I’m not the only one who’s bewildered by the criss crossing time lines (loops?) of THE SARAH CONNOR CHRONICLES and the first two TERMINATOR movies. (I guess we’re supposed to put T3 out of our minds, as though it didn’t happen. But it did: I saw it.) Todd Seavey leaps into the the whole time…

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What '24' Would Have Looked Like in '94

If Fox runs out of episodes of 24, the network can run this top secret, never before seen pilot: what the deadly game of spies vs. terrorists would have looked like in 1994. Produced by College Humor (Thanks to Andrew Hearst of Panopticist for the link)

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Quoted

We are big. It’s the Advertising that got small.

“With 100 million daily readers, newspapers are a tremendous scoring opportunity” – A group called the “Newspaper Project” making the case that news on the printed page is not on the verge of extinction.

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I will find you. And I will Kill You.

“I don’t know who you are. I don’t know what you want. If you are looking for ransom, I can tell you I don’t have money. But what I do have are a very particular set of skills; skills I have acquired over a very long career. Skills that make me a nightmare for people…

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Reeler

Coming Soon: The Reeler Wanders Off On Its Own

Dear readers, When I started The Reeler in June 2005, my primary goal was to establish a one-stop shop for everything you need to know about New York City cinema. If you are even a casual reader of this site, you will know that I have a ways to go before achieving that not-quite-modest aim….

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Mad at 'Marie,' Jumping for 'Joy': Film Blog Comment Chaos

For reasons I shall disclose to you sooner or later, this is going to be a short day for me. In the meantime, I’d like to refer you over to a pair of interesting discussions that should unfold on the blogosphere for a while to come: –Over at Hollywood Elsewhere, editor Jeffrey Wells has once…

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"Dream Job," "Arts Reporting" Unironically Paired At Hunter College Panel

OK, so maybe this has something to do with the Reeler Karma I was talking about last week, or maybe, again, it is just the the rich getting richer: Lewis Beale, whose essay last month on cinema’s Jewish babe renaissance is the most popular post ever published on this site, is slated to take part…

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Shrinking Film Critic

Seinfeld's doc-diss

The doc-maker who disses Seinfeld back has a point, but it’s not the one he thinks it is …

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Eddie Murphy wuz robbed

I mean, I’ve always loved Alan Arkin, but his performance in Little Miss Sunshine was pretty much what we’ve come to expect of him, his patented, deadpan codger. Whereas Murphy tried something wholly new in his career, and it was quite sensational, not only for being unexpected. Meanwhile, Peter O’Toole’s badly lifted face seemed to…

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Monday-morning quarterbacking on Oscars

I especially enjoyed when Pilobolus formed itself into Ellen DeGeneres’ crimson velour tracksuit. Other trenchant observations: Helen Mirren is sexier at any age than any woman with a facelift. Jack Nicholson is starting to look like Marlon Brando in Apocalypse Now. The actresses all seemed to have strangely symmetrical, erect nipples. Big attempt to make…

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Old MCN Blogs

Quote Unquotesee all »

“To be a critic is to be a workaholic. Workaholism is socially conditioned: viewed favourably by exploiters, it’s generally ruinous to a worker’s mental health. When T.S. Eliot said criticism was as inevitable as breathing, he failed to mention that, respiratory problems notwithstanding, breathing is easy. Criticism is reflexive before reflective: to formalise/industrialise an involuntary instinct requires time, effort and discipline. The reason we seek remuneration, as opposed to the self-hatred of being a scab, is because all labour should be waged…

“Criticism, so the cliché by now goes, is dying. None of the panel discussions on its death agony, however—including those in which I’ve formally participated—come at it from the wider perspective that the problem surely needs. They defend the ways in which criticism functions in relation to the industry and to the public, but they fail to contextualise these relationships as defined by ultimately rotten and self-harming imperatives.

“Criticism was a noble profession so long as only a few could practice it for money; when the field expands, as it has with a so-called ‘democratisation’ of our practice, those few lose their political power. Competition grows and markets are undercut: publications are naturally going to start paying less. Precarity is both cause and effect of a surplus workforce: the reason you’re only as good as your last article is because there are plenty of other folks who can write the next one in your place. The daily grind is: pitch, or perish.

B”ut criticism, so a counter-cliché goes, is not dying. An irony: this is an elite sport that is no longer elite in terms of who is able to practice it, but in economic terms it’s clutching to a perverse and outmoded hierarchical structure. It’s more meritocratic than ever, now: which is to say it isn’t meritocratic at all. That’s a paradox in bad need of a resolution…”

~ Michael Pattison Manifestoes Film Criticism

“It’s easy to forget when you’re reading a critic every single week or multiple times a week, that most of us who do this job, and have been doing it for a long time, understand that this is basically a parasitic profession. I don’t mean in the sense that we’re evil bloodsucking creatures, but we couldn’t exist if we didn’t have something to analyze. And I’m always conscious of that. So whether I like or don’t like a particular thing you do, my point of view is always that of an appreciator. I just like to be in the world that you create.”
~ Matt Zoller Seitz To Sam Esmail

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