Near the beginning of 2019, I watched Life Itself, the 2014 documentary about the life and work of famous film critic Roger Ebert. Consider this quote from Ebert:
“We are all born with a certain package. We are who we are. Where we were born, who we were born as, how we were raised. We are kind of stuck inside that person, and the purpose of civilization and growth is to be able to reach out and empathize a little bit with other people, find out what makes them tick, what they care about. For me, the movies are like a machine that generates empathy. If it’s a great movie, it lets you understand a little bit more about what it’s like to be a different gender, a different race, a different age, a different economic class, a different nationality, a different profession, different hopes, aspirations, dreams and fears. It helps us to identify with the people who are sharing this journey with us. And that, to me, is the most noble thing that good movies can do and it’s a reason to encourage them and to support them and to go to them.”
If you have ever tried to explain your deep appreciation of a piece of art anywhere on the internet, you likely understand how much amateur criticism and intense posturing exists online.
At best, this negativity is an aggravating byproduct of crowdsourcing artistic validation. At worst, this persistent and indiscriminate criticism is a symptom of a relatively new and alarmingly widespread brand of groupthink. One that is unquestioningly unimpressed—always.
Either way, we seem to be entering a modern era of discontent, and this problem is worth dissecting.
With that in mind, meet a proud part of the problem: Cinema Sins. Continue reading
“What is your favorite superhero film?”
Seemed like a simple question. Easy enough to answer.
Then I began to compile a list of all of the superhero movies I’ve seen. And when that list grew larger than 90 movies (watched over many, many years), I panicked. “Damn. What is my favorite superhero film? Could I even narrow it down to a top ten?” Continue reading
Writer Manohla Dargis is a skilled film critic. Most of her reviews are filled with astute observations and nuanced recommendations.
Her recent review of Justice League, however, is wrong.
Here’s why. Continue reading
Warning: Article contains links to pages that contain profanity and offensive content.
At 7:45 PM on June 15th, Twitch streamer and Twitter user Ashley “ashleeeeean” Leann posted this tweet:
The Twitch mixer was a get-together on Wednesday, June 14th for Twitch streamers at the Electronic Entertainment Expo (E3), a gathering of gamers and game developers in Los Angeles. Around 20 hours had passed since friends, family, and social media followers had heard from Twitch streamer and GEXCon host Tia “LauraLania” Zimmer, so ashleeeeean decided, as she described in a video on Twitter, to use “my platform and my following to be able to get the word out there.”
“I did not expect it to blow up as much as it did,” she added. Continue reading
It has been described as “an inescapable nightmare” and “a new low in the current culture’s inability to leave behind the blankies, binkies and wubbies of one’s youth.” Writer Rich Juzwiak described the viewing experience as “what tripping on ayahuasca must be like.”
Critics do not like Fuller House.
Though, as of today, the new Fuller House has earned a paltry 38% on Rotten Tomatoes and seems to offer little more than aggressive nostalgia and thinly veiled jabs at the Olsen twins, the somewhat forced existence of this Netflix sequel has given the world an unexpected and well-needed gift: another glimpse into the life of Kimmy Gibbler, one of TV’s most underrated heroines.
Kimmy Gibbler is the socially awkward friend of D.J. and next-door neighbor of the Tanner family. Her role in the show is to permeate the often sickeningly wholesome Tanner family environment with hijinks and unsolicited opinions. Despite D.J.’s unclear motives for interacting with Kimmy—”whether it’s because she can live on the edge a little by hanging around her, or because she gets to practice her leadership skills and guide her, is uncertain”—many episodes of Full House include at least one scene with this eccentric teenager.
Taken as a whole, these scenes tell the courageous story of a unique, independent female who, which grace and wisdom, rejects the antagonistic behavior of those around her. Continue reading
With the release of Iron Man 3 just months away, Marvel fans are watching and re-watching the handful of Iron Man 3 trailers available on YouTube. And, if you’re like me, you’ve noticed the slow cadence of Ben Kingsley’s voice as the Mandarin. “Some people call me a terrorist,” he says, slowly and deliberately, “I consider myself a teacher. Lesson No. 1: Heroes. There is no such thing.” Then explosions and all hell breaks loose.
Kingsley’s voice as the Mandarin reminded me of the voice Tom Hardy used for Bane in The Dark Knight Rises. It, too, is slow and calculated. His voice is something between a purr and a growl when he says, “When Gotham is ashes, you have my permission to die.” Then, again, explosions and chaos.
This made me think: How many movie villains are defined, in some way, by their voice? There are, of course, some classic villains with classic voices, like James Earl Jones as Darth Vader. Dracula is another. Gary Oldman in Coppola’s Dracula and Richard Roxburgh in Van Helsing, among others, have given Dracula his Transylvanian tongue. And there’s Margaret Hamilton as the Wicked Witch of the West in the 1939 The Wizard of Oz. Her voice was part of the reason that I was too afraid to watch The Wizard of Oz as a kid. And as a pre-teen. And teen.