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As I noted in my commentary on genre-snobbery in film criticism, film style supersedes film content and films must be judged on their terms if we consider ourselves to be true, objective lovers of cinema. Using a particular movie as a case-study for sociological analysis, for instance, in which complete disregard of the study of cinematic … Continue reading
One of the earliest film analysis essays I wrote for this blog was My Take on Michael Bay’s Transformers (2007-2017) franchise. It was a long-winded musing (or rather a series of musings later coalesced into a single hodgepodge of angry banter) that was aimed primarily at the dumb, greedy side of the global movie business. … Continue reading
Every year around late January to early February when the Academy Award nominations are announced, tons of people waste plenty of energy whining and bitching about what films got picked and which didn’t. The complaints often go something like this: ‘Whaa, whaa, Whaaaaa, my favorite movie/actor/director/whomever/whatever didn’t get nominated! Whaaa, it’s almost like the Academy … Continue reading
A common misconception I encounter in today’s movie-going populace is that modern day (circa 2000-present) films are quite explicit, and that films are becoming increasingly violent and sexually charged compared to mainstream films from previous decades. This mindset is, as the above video describes it, complete bullshit. Here are a list of films that received … Continue reading
The term “independent film” has evolved since the early days of its inception in the 1980s American film scene. The shift from the 1970s American New Wave auteur dominance, including the works of film-school-educated directors such as Francis Ford Coppola, Martin Scorsese, Brian de Palma, and others to the modern day blockbuster-mindset engineered by the … Continue reading
Express Elevator to Hell 