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Monday, October 7, 2013
My Answer to This Week's Criticwire Survey Question: Game Changers
Q: This weekend, Gravity set a record for the biggest October opening weekend in history. But that's small potatoes compared to the claims some critics have made that it represents the dawning of a new era in movies. What's a film you thought would change movies forever, and were you right?Você está aqui: Home » Artigos do Marcador Criticwire
Monday, September 23, 2013
My Answer to the Latest Criticwire Survey Question: Movies Ohters Are "Just Plain Wrong" About
I’ve decided from now on, I’ll just print the Criticwire question of the week directly, rather than recap. I started recapping when I answer more than 50 at one time, but now, I’ll just print the question. This is this weeks:Você está aqui: Home » Artigos do Marcador Criticwire
Tuesday, September 17, 2013
My Answer to the Latest Criticwire Survey Question: Cell Phone Use in the Theater
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Tuesday, September 3, 2013
My Answer to the Most Recent Criticwire Survey: Anticipated Fall Entertainments
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Wednesday, August 28, 2013
My Answer to the Latest Criticwire Survey Question: Binge Watching
This week’s critic wire question asks what people should binge watch this labor day weekend, since nothing much will be hitting theaters this week – well, unless you’re eagerly anticipating Getaway I guess.Você está aqui: Home » Artigos do Marcador Criticwire
Thursday, August 15, 2013
My Answer to the Most Recent Criticwire Survey Question: Blindspots
This week's question is a repeat of one already asked - about cinematic blindspots. It's understandable that this question would be repeated - it was asked over a year ago, and Criticwire now has a new editor. Since I answered this question recently - sighting Claude Lanzmann's Shoah as my biggest blindspot, and I still haven't seen it (I mean to get to it this year, but it is 9 hours, so I have to admit it may not happen this year), that is still my answer.But let me add a few more. While I have seen two Bela Tarr films - The Turin Horse (2012) and Werckmeister Harmonies (2000), I have never seen his most acclaimed film - Satantango (1994). Again, I have an excuse - it's 7 hours long! I will get to it one day. I also have never seen Jean Eustache's The Mother and the Whore (1973) - but I have a good excuse on that one - as far as I know, it's not available in North America in any form. The same goes for two of Jacques Rivette's most acclaimed films - Out 1 (1971)and Celine and Julie Go Boating (1974)- although I have no excuse for not seeing ANY of Rivette's films, so I should correct that. Another big one also not available is Abel Gance's Napolean (1927) - they did a restoration of it last year, but only showed it in a select few theaters, and are not releasing it on DVD, so again, I have no idea when I'll have a chance to see it. At some point, I hope they will released Edward Yang's A Brighter Summer Day (1991) on DVD so I can see it - I am a huge fan of his Yi Yi, so I looked forward to it.
So those are the ones I have a built in excuse for. Now for some films I have no excuse for not having seen - Claire Denis' Beau Travail (1999), Elem Klimov's Come and See (1985), F.W. Murnau's The Last Laugh (1924), anything by Andrzej Wajda - particularly Ashes and Diamonds (1958), Vincente Minelli's Meet Me in St. Louis (1944), Robert Hamer's Kind Hearts and Coronets (1949), Fei Mu's Spring in a Small Town (1948), anything by Rainer Werner Fassbender not titled Ali: Fear Eats the Soul, Giuseppe Tornatore's Cinema Paradiso (1988), Hiroshi Teshigahara's Woman in the Dunes (1964), Marcel Orphus's The Sorrow and the Pity (1969) and Frank Borzage's Seventh Heaven (1927).
I will correct all of those at some point in my life - when I don't know, but I want to see them all and many, many more older films. I've said before that exploring cinema history is a lifelong pursuit - no one can possibly see EVERYTHING they should. I just keep trying to see as much as possible - one film at a time.
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Wednesday, August 7, 2013
My Answer to the Latest Critcwire Survey: Coming of Age Stories
This week’s question asked what the best coming of ages stories are – in honor of the recently released The Spectacular Now.I’ll get one answer out of the way right now – and that’s The Catcher in the Rye. The question didn’t ask for coming of age movies, although that is implied, but J.D. Salinger’s The Catcher in the Rye was a very important book to me. I read it a couple of times as a teenager and once in my early 20s – and loved it every time. I often wonder if I were to read it again now – at 31 – if I would still love it, or if I would now think Holden Caufield is a spoiled, selfish brat – I think of the later is what has prevented me from reading it. And from a TV perspective, you cannot get better than the single perfect season of Freaks and Geeks.
But in terms of movies, there are a lot of great coming of age movies. There are a lot of choices – Peter Yates’ Breaking Away, Rob Reiner’s Stand By Me, Cameron Crowe’s Say Anything, George Lucas’ American Graffiti, Mike Nichols’ The Graduate, Jason Reitman’s Juno, Noah Baumbach’s The Squid and the Whale, Wes Anderson’s Rushmore, Spike Jonze’s Where the Wild Things Are, Charles Laughton’s The Night of the Hunter, Brian DePalma’s Carrie, Richard Kelly’s Donnie Darko, Peter Bogdanovich’s The Last Picture Show, Hayao Miyazaki’s Spirited Away and the granddaddy of them all Francois Truffaut’s The 400 Blows. I wouldn’t argue with anyone who picked any of these movies – more so perhaps even than most the coming of age film is a very personal choice.
But I’m thinking of three slightly more offbeat choices. The first being David Lynch’s Blue Velvet, which is a coming of age story for Kyle McLaughlin – although when he gets a glimpse of the adult world, he probably wishes he hadn’t been in such a rush to grow up. And Laura Dern’s pure innocent grows up a little bit as well – even discovering a slightly kinky side. Another offbeat choice is Spielberg’s A.I. – which is about a robot who comes of age – or at least is programmed to come of age. The film asks some rather quietly profound questions – and remains Spielberg’s most underrated masterpiece.
But the answer I’m going with is Alexander Payne’s Election. Setting a coming of age story in high school is pretty standard – but this time, it’s not the students coming of age. Reese Witherspoon’s Tracy Flick (still far and away her best performance) doesn’t learn a damned thing in the movie. I suppose the siblings played by Chris Klein and Jessica Campbell learn something – but not all that much. No, Election is about Matthew Broderick’s Mr. McAllister’s coming of age – although far too late to do him much good. By the time he’s learned his lesson, he’s lost his wife and his job, and is starting all over again – and in the hilarious last scene of the movie, he shows that perhaps, he hasn’t quite grown up just yet. With so many movies these days about overgrown man children – that for the most part celebrate how wonderful and funny these 30 year old who act like teenagers are (or perhaps worse, that they simply need the “love of a good woman” to grow up), Election stands out even more today than it did back in 1999. And because I’m now in my 30s, it speaks to me more now than those movies of teenagers reaching maturity.
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Monday, July 29, 2013
My Answer to the Latest Criticwire Survey Question: First Serious TV Show
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Tuesday, July 23, 2013
My Answer to the Most Recent Criticwire Survey: Origin Story
After a few weeks hiatus, when the original editor of the Criticwire blog left, and a new one came in, the Criticwire Survey is back. This week asks for the Critic's origin story - how they got to be a film critic in the first place. As I have done a few times when answering these questions, I'll say that I don't really consider myself a critic - I write about movies mainly for myself, to work out my own feelings towards a movie, and if others get something out of the reviews, great. I don't paid to write, probably never will get paid to do so, and I'm fine with that. It is a hobby - although one I do take seriously as I continually strive to get better - but I'm happy in my tiny corner of the internet.So with that out of the way, how did I start writing about movies. It started by falling in love with movies - I always liked movies as a child, but remember a few moments in particular where I knew I loved them - a very long bus ride with my brother's hockey team (after they played like shit, are were quiet all the way home) where we watched Oliver Stone's JFK is still seared in my mind, even though I was 10 at the time (and no, I don't recommend watching any movie on a bus, but this time worked). Than over the next few years being pulled in my movies like Clint Eastwood's Unforgiven, Quentin Tarantino's Reservoir Dogs and Pulp Fiction and Oliver Stone's Natural Born Killers (yes, I was too young to see them). I also remember my yearly trip to my Aunt's where we would often end the day watching a classic movie - this is how I got exposed to the Marx Brothers, Casablanca and Citizen Kane for the first time. It was also at my Aunt's house that I first encountered film criticism - in the form of one of Roger Ebert's Video Guide, which I read a lot early in the morning, since I was an earlier riser than everyone else. As my love of film grew, I read more Ebert, starting watching Siskel and Ebert, and eventually starting reading reviews by others as well.
And then, at some point, I started writing about movies. It started slowly in high school and throughout college - brief reviews that I didn't do anything with, and then reviews I posted in the user's section of IMDB - but I grew tired of that. It wasn't really until about 2003 that I actually started writing reviews for every new movie I saw - and some older ones as well. After six years, and more than 1,000 reviews I did nothing with, and enough people telling me I should start a blog that I did in fact do that. So I've been writing reviews for 10 years, publishing them on this blog for 4 years, and I don't see that changing any time too soon.
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Monday, June 24, 2013
My Answer to the Latest Criticwire Survey: Advice for Aspiring Critics
I really have no business to give aspiring critics any advice, since at best, I’m an amateur critic – and some would still say I’m an “aspiring” critic, since of course no one pays me a dime for what I write (although aspiring implies that at some point I hope to be a professional critic, something I have no delusion about ever happening). But I’ll offer a few words anyway.1. Don’t expect to make money. Newspapers and magazines have always been the primary employers of movie critics – and they’re in trouble, downsizing where ever they can. Most professional critics these days are freelancers. You want to be a professional movie critic who wants to make a living off it? Good luck with that.
2. Do it for the reason I do it – I love movies; I love writing about movies, and writing reviews help me work through my feelings about the movies. I don’t really consider myself a critic – I’m just a guy who watches a lot of movies and writes about what he sees. If a few readers find that helpful, I'm glad for it, but I'd do the same thing whether or not I posted my reviews.
3. Don’t care what others think of your reviews. I did at one point, but I’ve moved on from that. Be prepared, because even someone like me, who occupies such a tiny space on the internet, has people telling me an idiot. It goes with the territory. Don’t take it personally and move on. They aren’t worth your time. Engage in thoughtful debate with those who want to – don’t trade insults with idiots.
4. Watch as much as they can – both old and new. If you don’t know much about film history, than you really shouldn’t be a critic. I’ve made my way through many of the “canon” titles through the years, and my list of older movies to see never gets any shorter – I just keep adding titles. It’s a monumental task, and one that will be ongoing for your entire life. You’re never going to get to know film history unless you watch films – one at a time.
5. Don’t look down at the movies you review. Nothing bugs me more in a review than a critic who somehow holds himself above the films they are reviewing. If you have contempt for what you’re writing about, it shows. Try to meet a film on its own terms.
6. Don’t get obsessed with a “grading scale”. I used the four star system when I started this blog, because that’s what I grew up with from Ebert and Maltin. I stopped because I was tired of people e-mailing and asking why something got 3 stars and something else got 3.5. I never meant it to be definitive – just a guide - but as soon as you attach a “rating” to a film, some people will forever and ever hold you to that. Have a grading scale if you want – but ignore any question regarding why one film got one rating, and another film got a different one.
7. Read as much criticism as you can. Read Ebert, read Kael, read Sarris, read a wide variety of people writing now – from Glenn Kenny to James Berardinelli to Kent Jones to Amy Taubin to Manhola Dargis to A.O. Scott to Armond White and everyone in between. Like movies, you’ll like some, and dislike others. That’s kind of the point.
8. Don’t stop writing. I still don’t think much of my own writing – but I think I’ve improved in the years I have been writing. That’s how you get better, just keep doing it.
9. Be honest when you write – there’s no shame in disliking a movie everyone else seems to love, or liking a movie everyone else hates. I’ve never believed in the concept of “objective” criticism – as if there is some sort of algorithm that can define a great movie or a bad one. What’s important is that your subjective opinion or interpretation can be backed up by what is objectively in the movie.
That was WAY longer than I intended it to be, but there it is. But, as I said off the top, I’m don't consider myself a critic at all, and I'mcertainly not a professional one. So please feel free to completely ignore me.
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Monday, June 17, 2013
My Answer to the Latest Criticwire Survey: Favorite Criterion Essays
I can only choose 1? The great thing about Criterion is that they go all out for their releases – even in this day of age when Blu-Ray survives as a niche market, and DVDs are low rent only. One of the best features is that practically every release contains an great essay on the film – and they’re all available online as well. In all honesty, if I’m ever looking for a review of a film that Criterion has released, the website is my first stop.
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Monday, June 10, 2013
My Answer to the Latest Criticwire Survey: Where is Ferris Bueller Now?
It has been 27 years since Ferris Bueller’s Day Off came out, meaning that the kid who was about 17 at the time would now be 44. So where would Ferris Bueller be now?Basically, Bueller is who he has always been – the way you know you should despise, but can’t bring yourself to do so.
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Monday, June 3, 2013
My Answer to the Most Recent Criticwire Survey: Best Shakespeare Adaptation
I actually did a top 10 list of Shakespeare adaptations a few years ago (http://davesmoviesite.blogspot.ca/2009/10/weekly-top-ten-best-shakespeare.html) – and I do not think my answer has changed since then despite having seen two that would easily make the top 10 since then – Orson Welles’ 1965 masterpiece Chimes at Midnight, which took parts from several Shakespeare plays to make Falstaff the main character, which is brilliant and original, and Ralph Fiennes excellent Coriolanus, a brilliant adaptation of a lesser known play (much of the rest of this post will just be a summary of that earlier one now). For non-traditional adaptations, I think you have some brilliant ones by Kurosawa – particularly Ran (1985) – his King Lear, and Gus Van Sant’s My Own Private Idaho (1991) – his Henry IV. Al Pacino’s wonderfully strange Looking for Richard (1996) is also a must see. Traditional adaptations that I love include Joseph L. Mankiewicz’s Julius Caesar (1953), Orson Welles’ Othello (1952) and MacBeth (1948), and Roman Polanski’s Macbeth (1971) is even better. Laurence Oliver’s Henry V (1945) – but not his Oscar winning Hamlet (1948), not to mention Branagh’s Henry V (1989). And then there are the ones in the middle – using Shakespeare’s language, but placing the action somewhere else – like Richard Loncraine’s Richard III (1995) or Julie Taymor Titus (1999).Você está aqui: Home » Artigos do Marcador Criticwire
Monday, May 27, 2013
My Answer to the Latest Criticwire Survey Questin: Memorial Day Viewing
This week's question is what is the best movie to watch on Memorial Day. Since I'm Canadian, and hence don't even have Memorial Day off work - we had the previous weekend for Victoria Day this year - this is a hard question to answer. But I'll take in the spirit in which it was intended and answer is with a war movie - actually two of them. What I would watch - since far too few people did back in 2006 - is Clint Eastwood's Iwo Jima double bill Flags of Our Fathers and Letters from Iwo Jima. I'm not saying these are the best war movies ever made - they certainly are not - but I think they're good for Memorail Day viewing. Why? Because as flawed as Flags of Our Fathers may have been, it is a fascinating movie not just about war heroes, but on the nature of what makes a war hero itself. The men who raised the flag and become icons, did not do it to become icons - and were uncomfortable with the fame it brought it - in some cases with really bad after effects. We should celebrate the men and women who willingly sacrificed their lives for us - but we should not exploit them, or glamorize what they did. It wasn't glamourous, and men young men died. Letters from Iwo Jima is a more straight forward film, but a less flawed one. And it took decades for an American filmmaker to make a film from the Japanese point of view. I think Letters from Iwo Jima is a great film because it reminds us that our enemies are just people too - people who are fighting for their homeland, just like our soldiers are fighting for theirs. The grunts on the ground don't make the decisions that led us to war - but they're the ones who pay the price for it.There are lots of choices to choose from though - and I think any number of documentaries about returning soldiers and they sacrifices they have made - and how, at times, they have been mistreated by the government would also fit. The Tillman Story, Restrepo, To Hell and Back and The Invisible War all leap to mind as well.
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Tuesday, May 21, 2013
My Answer to the Most Recent Criticwire Survey: Best on the Big Screen
This week’s question is about what movie every movie buff should try to see on the big screen at least once. The answer, of course, is all of them. Every movie, no matter how large or small, is meant to be seen on the big screen, and while it’s wonderful that we can see way more movies than ever before on our TV’s, this should not be treated as a substitute for seeing things on the big screen. Anyway, that answer is a copout, so if you want me to name one movie I’ll say the best film ever made Francis Ford Coppola’s Apocalypse Now. I’ve seen that film countless times – but only once on the big screen – and that was the inferior Apocalypse Now Redux – but it was still one of the best movie going experiences of my life. Other films I had seen many times on TV, VHS, DVD or Blu-Ray that I also loved when I saw them on the big screen include Hitchcock’s Vertigo, Rear Window and Psycho (this actually increased my admiration for Psycho immeasurably), Scorsese’s Taxi Driver, Kubrick’s A Clockwork Orange and especially 2001: A Space Odyssey (which would be second only to Apocalypse Now if I really did this list) – and of course Welles’ Citizen Kane. And I’m still kicking myself for not finding time to see Lean’s Lawrence of Arabia and Jacques Tati’s Playtime on the big screen when I had the chance. Basically, I think if you have a chance to see any great film on the big screen, you shouldn’t pass that up.Você está aqui: Home » Artigos do Marcador Criticwire
Monday, May 13, 2013
My Answer to the Latest Criticwire Survey Question: Childhood Favorite that Holds Up? That Doesn't?
As a child, I was a huge fan of Ghostbusters – not just the two movies, but also the animated TV show – I also had all the action figures (not to mention the Ecto 1) and even a board game. And whenever I watch the film now, it still holds up remarkably well – my love of Bill Murray started here, and he’s still perfect in the movie. I will also always a soft spot for Ernie Hudson because of the film, because Winston was always a favorite of mine – for whatever reason I do not remember. Reitman’s film is still a blast. (by the way, that really is a poster for Ghostbusters – from the Czech Republic, leading me to wonder what the hell their poster designers are on over there, and if they are even crazier than the Polish poster designers, who are normally the most batshit crazy of the lot). A runner up would be Warren Beatty’s Dick Tracy – I don’t think I understood just how good that film was when I saw it at the age of 9.
On the flip side of movies that have not held up – I was tempted to say Ghostbusters II, but I still do have a soft spot for that movie for whatever reason, even though, admittedly, it isn’t very good. Aside from Ghostbusters the other franchise I loved as a child – and again, not just the movies but the animated show and action figures was Teenage Mutant Ninja Turtles – and as much as I hate to admit it, NONE of the three movies made between 1990 and 1993 hold up very well at all (especially III, when somehow they were transported back ancient Japan). The films will always have a place in my memory for being beloved when I was a child – and I will still vigorously defend them when Michael Bay announces that he’s going to make the turtles fucking ALIENS because their name is NOT Teenage Alien Ninja Turtles, it’s Teenage Mutant Ninja Turtles, and making them aliens is JUST PLAIN WRONG – but other than the first film, I’m not I could even make it through one of the films these days – let alone love them.
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Tuesday, May 7, 2013
My Answer to the Most Recent Criticwire Survey: Best Director Under 40
Who is the best filmmaker under 40? I was somewhat surprised, although I shouldn’t have been, that many of the directors I feel are at the top right now – Paul Thomas Anderson, Quentin Tarantino, Wes Anderson, etc. – all have 40 in the rear view mirror. I was also surprised to learn that other directors I thought may make it – Ben Wheatley, Shane Carruth and Rian Johnson – are all also 40, but barely (and in the case of Johnson, he’ll be 40 this year). I also considered Derek Cianfrance, mainly for Blue Valentine and Craig Zobel, for Complaine, but for the life of me, I could not find their birthday. Maybe they’re 40, maybe not, so I decided to play it safe and go with someone else – I probably would have anyway.Você está aqui: Home » Artigos do Marcador Criticwire
Tuesday, April 30, 2013
My Answer to the Most Recent Criticwire Survey: Best Comic Book Movie
The best movie based on a comic book or graphic novel is clearly David Cronenberg’s A History of Violence. However, considering just how much has changed from the book – the movie is far less lurid than the graphic novel – and the fact that apparently Cronenberg was unaware that it was based on one when he agreed to direct the movie, and did not read the original before making the movie, I’m not going to pick that one. If I were inclined to pick an “alternative” choice rather than a superhero movie, I’d be more inclined to pick something like Robert Pulcini & Shari Spring Berman’s American Splendor, which had a ton of respect for Harvey Pekar’s source material, or one of two films by Terry Zwigoff – his adaptation of Daniel Clowes’ teen girl story Ghost World, or his documentary Crumb exploring the life and work of Robert Crumb. But even though I think all of these films are better than my actually choice, I think all of those seem to be a cop out – the critics way of dodging the real question being asked, so they can continue to look down their noses at superhero movies – which since this question was inspired by the upcoming release of Iron Man 3, is clearly what was intended.Você está aqui: Home » Artigos do Marcador Criticwire
Thursday, April 25, 2013
My Answers to All 56 Criticwire Survey Questions Part III
Our Most Wanted PrequelsFor this one, I think to my two favorite films. I wouldn’t mind seeing Colonel Kurtz’s descent into madness and then ruling over his jungle compound before Willard shows up to kill him in Apocalypse Now. But the one I really wanted to see is for Taxi Driver – what the hell happened to Travis Bickle in Vietnam that made him so crazy, or was he already that crazy. I should say this – I don’t actually want ANYONE to make either of these films, but I would have been interested in Coppola and Scorsese had done so decades ago.
1. "Citizen Kane"
2. "Vertigo"
3. "The Rules of the Game"
4. "The Godfather Parts I and II"
5. "Tokyo Story"
6. "2001: A Space Odyssey"
7. "Battleship Potemkin" (tie)
7. "Sunrise" (tie)
9. "8 1/2"
10. "Singin' in the Rain"


