MCN Commentary & Analysis

Thankful 2020

November 26, 2020

It’s The Most Wacky Awards Time Of Year

November 18, 2020

Sing it! We are floating in the Mini-Me *Oscar season. Some people are happy. Some less so. But it is undeniable that this is not just a two-month delay in the way things normally are (except at Netflix… and not really even there). We are in a shrunken season, with as many players that are […]

DOC NYC 2020: A Living Page Of Suggestions (11/11)

November 12, 2020

Working my way through DOC NYC 2020 this last couple weeks, I realize the multiple factors that are setting reactions to documentaries. First, there is content, and how each of us connects to that material. Something we didn’t know about something that fascinates us is always the “best” film. Something we know a bit about […]

The State of It: Post-Election

November 9, 2020

Phew. The last time I wrote about the film and television industry, aside from Twitter, was three full weeks ago. Actions have taken place in the industry, but nothing foundational has really changed since then. That doesn’t mean that the losses haven’t hurt and the wins haven’t soothed all of us. NATO still should get […]

10 Things I Actually Know

October 18, 2020

An article this weekend by A.O. Scott at the New York Times and a thread on Twitter by Ted Hope got me riled up. The Scott article is a mélange of consumer and critic judgements about the theatrical experience combined with assertions of how theatrical is seen within the finance of the industry, with almost […]

If This Is A 30-Film Oscar Season, Your BP Nominees…

October 1, 2020

1. Mank – Your likely winner.NomadlandTenetDuneNews of the World C’mon C’mon (no date yet)ConnectedHillbilly ElegyThe Trial of The Chicago SevenThe United States vs. Billie Holiday Possible Slot ReplacementsSoulNo Time To DieMa Rainey’s Black BottomThe Outpost

29 Weeks To Oscar, Maybe: The Entire “Movie” Award Season

September 30, 2020

I was as generous as I could be. 38 movies seems to be the maximum that could be in contention for everything but Shorts, Animation, International, and Documentary. This includes 6 titles that are not currently scheduled to premiere this year, in theaters or out, or which have no announced their awards ambitions. Now… remove, […]

30 Weeks To Oscar, Maybe: Getting Out Of The Gate

September 23, 2020

And here we go… pretending that everything is normal as we take the small handful of movies that would be considered the lower tier of Oscar candidates, and even then, only a small part of that tier, and handing out Oscars like Sour Patch Kids (the here’s-a-sweet-for-your-oddball-screening candy of choice) because what the hell, we […]

Movie Content Scoreboard: Episode 3b – After The Fall, What Next?

September 17, 2020

Let’s look at the movie industry’s situation from another perspective. *The car renters of the film business are moviegoers.*The rental car companies of the film business are the production and distribution companies.*The renters and owners of the parking lots where the automobile waits for pick-ups-and returns is the exhibition business. You can’t force someone to […]

Movie Content Scoreboard: Episode 3a – After The Fall, The Films

September 16, 2020

Let’s start again with… THE UNTOUCHABLES (alphabetical order, as of July) A Quiet Place II Black Widow Coming 2 America The Conjuring 3 Connected The Croods 2 Dune The Eternals Free Guy The King’s Man The Last Duel Mulan No Time To Die Soul Tenet Top Gun Maverick West Side Story Wonder Woman 1984 Okay. […]

Movie Content Scoreboard: Episode 2 – Tenet & Mulan

September 16, 2020

I have avoided writing constantly about the immediate prospects of exhibition and studios because we didn’t get to the next significant event between the last Movie Content Scoreboard in July and the Tenet/Mulan experiments of the last couple weeks. I will deliver “Episode III – After The Fall” soon. But I wanted to keep the […]


September 8, 2020

The Academy under Dawn Hudson continues to be a slow-motion car wreck. It does one thing really well. It covers its ass. African Americans raged on Twitter about #OscarSoWhite. So The Academy responded by announcing its 2020 effort to bring more women and people of color into The Academy. Without getting into the problems of […]

Review: Mulan (spoiler-free)

September 3, 2020

The opening of Mulan, after a magic drone ride through the lush, green Chinese countryside with some wise male voice over about the story we are about to embark on, reminded me of Beauty & The Beast. The camera swoops into a Hakka walled village, establishing the town of personalities and, indeed, Mulan, who is […]

Review: The Comey Rule (spoiler-free)

September 2, 2020

Now and again, after a lot of digging – and we are doing more digging than ever – you find a simple, perfect gem. Such is The Comey Rule. We have been down this road before. And not without some real aesthetic value. There is an entire series of films by Oliver Stone, but the […]

Box Office – Unhinged, 8/23

August 23, 2020

I thought it would be worth doing a deeper dive into Unhinged‘s weekend “win” because the trades are being indulgent in their coverage and this is the start of a few weeks, at least, of the effort to reopen theatrical. The most generous reading of the Unhinged weekend is that the film did $2,195 per […]

The Year Of Festivaling Dangerously

August 3, 2020

With the release of the Toronto International schedule a couple weeks ago, the unveiling of the Telluride un-schedule today, Venice’s refusal to do any streaming for media or anyone else, and New York announcing that it will open with a TV series (not unlike TIFF opening with a movie The Academy apparently won’t qualify as […]

Movie Content Scoreboard, as of July 2020

July 23, 2020

I am beyond sick of reading about every minor move by any studio with any theatrical movie being hailed as a paradigm-changing event. It’s absurd. But I realized I haven’t broken down what there is and where it is likely to land. So here we go. I made a list of 107 studio releases (Disney […]

Why Write?

July 14, 2020

I started writing this two weeks ago. I was interrupted and never finished… for all the reasons I started writing it. I am not afraid to shoot off my mouth. I have strong opinions. And even if you disagree with my analysis, I have educated, researched opinions. But all the thoughts cascading through my mind […]

Review: Irresistible

June 24, 2020

I love Jon Stewart. He is earnest and smart and funny and on the same side of politics as me. But he’s not a very good director. Not everyone has that skill set. And it shows in the most basic ways. How he frames a single, a two-shot, a joke. How he likes his films […]

MCN Commentary & Analysis See All

Thankful 2020

David Poland | November 26, 2020

22 Weeks To *Oscar: The Politics

David Poland | November 24, 2020

It’s The Most Wacky Awards Time Of Year

David Poland | November 18, 2020

The News Curated by Ray Pride See All


Owen Gleiberman Takes A While To Approach A Point About All Writers, Which, To These Eyes, Is Perhaps That Even The Most Discursive And The Most Prolix And The Most Enervating Among Us (Close And, Yes, Also Far Away), Are Deserving Of An Editor, One Who Is Not A Friend, But One Who Is Still Kind And Stern: "But not really. Because even once you accept that Orson Welles did deserve the co-screenplay credit for Citizen Kane, there’s a question that lingers, and it’s the mystery that I think Kael tried (unsuccessfully) to poke at. Kael’s essay, among other things, was a kind of backhanded meditation on the inner meaning of what a screenplay is. And the reason that question creates such an endless conundrum when we think of Citizen Kane is that Kane was the Hollywood movie that changed the answer to it. If you believe, as I do, that Kane is the greatest movie to have come out of classic Hollywood, and maybe the greatest movie ever made, and then you ask, “Okay, but why is it the greatest movie?,” the answer is 50 reasons at once — the visionary excitement of it, the through-a-snow-globe-darkly gothic majesty of it, the joyous acting and grand brooding cinematography, the hypnotic structure, the playfulness, the doomy haunting mythology of Rosebud, and on and on and on. The pleasures and profundity of Kane are right there on the surface, and infinitely deep beneath the surface."

Yahoo | November 29, 2020

France: "On one hand, citizens are asked to accept the possibility of being filmed under the pretext that they have nothing to fear if they have done nothing wrong. And at the same time the police refuse to be filmed, which is a right in every democracy

November 29, 2020

Nimic and the Top Ten Favorite Movie Posters of Designer Vasilis Marmatakis

November 29, 2020

Hollywood Reporter

David Prowse Was 85

Hollywood Reporter | November 28, 2020

The Video Section See All

Mrs. America, Uzo Aduba

David Poland | September 8, 2020

The Podcast Section See All