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As even laymen know, filmmaking is hardly an exact science, and exceptions to common rules and contextual details of film production are as important to film history and popular film culture as the most reliable screenwriting-101 rule. A film does not always require a protagonist, a character need not always possess an arc, an eye-line … Continue reading
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
If you’re anything of a movie-buff, you’re aware that the past decade of filmmaking, and in particular the past ten twenty-some years of film distribution, have been wrapped in a controversy so intriguing that it calls into question the very medium of movies themselves: The introduction and subsequent domination of HD digital video cameras to … Continue reading
Some time in the early 2000s, my fellow small-town, Midwestern citizens got excited over another non-distinct, brainless summer action movie called The Fast and the Furious (2001). It starred then unknown actor Paul Walker and recent breakout “star” Vin Diesel, the latter of whom had previously broken onto the map from the low-budget sci-fi film, Pitch … Continue reading
This is a companion piece to my other director-centric article, my picks for the Top Five Overrated Filmmakers, in which I discussed movie-directors who get way more critical support and fan-credit than they deserve. Today I’ll tackle the opposite end of the spectrum: Directors who have proved their worth, have made good (in some cases, … 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
A proud pastime of movie-lovers the world over is debating whose favorite filmmakers are better than others. It’s remarkably similar to how sports fans boast over their favorite sports franchises or players, or how music-buffs argue whose beloved artist is more “mainstream” or “selling out” or is more influential. Debates over favorite filmmakers, namely directors, are … 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
Every cinephile has opinions on film remakes, franchise reboots, or brand-name title “re-imaginings,” or however/whatever you define them. Remakes have become so prevalent in today’s saturated pop culture markets because film industries like Hollywood recognize the marketability, brand recognition, and overall financial security that an already established title has with the masses. Remakes of classic … 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
Express Elevator to Hell 