Our second installment of the new web series is up! In this episode we talk about the Oscar worthiness of Zero Dark Thirty, the perceived political controversy surrounding the film’s content and discuss whether the film portrays America as bullies.
Check out this supremely interesting short doc by Guy Reid on considering our earth from a different perspective.
Guy Reid is one of a number of filmmakers who make up Planetary Collective, working with scientists and cosmologists to explore the big questions facing our planet right now.
It’s been a long time coming, but I’m finally dipping my little toe in the world of the web series. Myself, along with two other film critics, Austin and Hodge Hermann, are starting a film review and discussion web series called Rough Cut.
The purpose for Rough Cut really sprung from the need we saw for more critical, thoughtful and analytical film discussion than most entertainment web series’ currently offer. So, while many of them will continue to be interested in, for the most part, superficialities of the cinema, the three of us are committed to discussing movies critically and on a much deeper level.
I should mention, we’ve only just begun this endeavor and so while our discussion may not be very flashy with slick animations and unnecessary movie clips, I assure you, we care way more about the art of criticizing, analyzing and discussing the movies you’re paying to see.
In our first episode of the series, we discuss the film Beasts of the Southern Wild by Benh Zeitlin, it’s worthiness in the Oscar race, and whether the claims of it being a “Republican fantasy” are founded. I hope you enjoy!
If I was to call Rex Reed a nasty, ugly, old, bulbous-nosed curmudgeon instead of thoughtfully critiquing the pros and cons of his ridiculous, purposely attention-inciting and unnecessarily scathing review of Identity Thief, I’d probably get a lot of hatred thrown my way. And rightly so. Attacking someone on a personal level when you’re trying to make an argument is the sure sign of an arguer that has not enough intelligence to even construct a sentence that is meaningful, or in many cases, doesn’t have the actual intelligence, experience or general knowledge to even make an argument. So people like this have to resort to pot shots to try to make their weak points. That’s exactly what film “critic” Rex Reed did in his recent review of the film Identity Thief for the New York Observer.
Identity Thief is by no means a fantastic movie, but it’s certainly not drivel, as Reed calls it. Trust me, I’ve seen drivel. I know it. I’m sure Reed’s seen actual drivel too in his many years as a film critic, and he knows this movie is not truly that bad to sit through. But he’s a poor, flailing, quickly-becoming-unrecognizable “movie critic” for the upper classes in New York who still apparently want to relive the days of Reed’s career when he was actually something meaningful, recognizable and important to the arts and to the country. And I say this out of no disrespect because what I mean is, he was good at his profession for a moment in time, but Reed doesn’t see the cinema that he once knew and loved as now evolving and so he will forever be curmudgeonly against anything that doesn’t fit neatly into his box of acceptable and worthwhile film fare.
What Reed doesn’t seem to realize is that he’s no longer a singular voice, he’s just a speck of dirt in the large stain that is the news media. The only purpose of a critic as bygone as him anymore is to give glowing sound bites for the indie, sleeper hits and foreign films half the audience wouldn’t have seen if it hadn’t been for the snippet or quote on the poster or trailer that he’s paid to provide – or, in cases like this, to help bring some much-needed notoriety back to a sinking newspaper by throwing out some slurs that are sure to be picked up by the media. Reed doesn’t know, understand or truly appreciate the cinema anymore, not like the thousands of real movie critics and cinema aficionados who live online now, arguing intelligently over the latest films, or reviewing them using a sense of humor or tangible knowledge and a general appreciation for the genre of the film they are reviewing (and most of those guys and gals do it because they love it). Unfortunately, this is the point in Reed’s career where he no longer really cares for or understands the cinema or knows what’s good. He clearly has no taste for comedy and certainly not the comedy of today’s younger generations.
Maybe he was bitter that he was required to even review Identity Thief in the first place, and so he went into it with a bad taste in his mouth to begin with, or maybe he just doesn’t care anymore unless it’s something that meets his pretentious standards ahead of time. It probably has to have Ryan Gosling and/or be a documentary on an impoverished country or HIV. I don’t think he was even really paying attention to the film while he was watching it, if we’re being honest. In fact, I’d debate that he even watched it to begin with (I’ll explain why below). There’s a lot of obvious errors and inconsistencies in his review to back this up. In fact, I think Reed’s contentious review is worthy of a review itself. So, here goes: the first ever Cinematic Public Enemy review of a film review.
Is Reed a critic or a reviewer? If Reed was a film reviewer, I’d let him get away with his ridiculous drivel of a review, because film reviewers are just people offering their opinion on something, and opinions, even when they’re mean, vicious and from the mouths of mean-spirited people are just that – opinions. But Reed is supposedly a Film Critic – a title I take to heart very dearly. Criticism is a skill. Criticism can and is a learned ability. Criticism, while it may very well include opinion, is rooted in critical thinking, critical comparisons and in-depth examinations, topped off with maybe an opinion or two for good measure and a little bit of engaging readability. Reed has lost any sense of film criticism that he ever may have had (and I know he had some, just read his review of the amazing classic Hearts and Minds).
First, let’s take his opener in his review of Identity Thief: “How many ways can a person waste valuable time and lose vital I.Q. points at the same time? If you’re movie critic, the possibilities are unlimited.” Read this opening very carefully. Right here, Reed has already given up his whole profession and reduced what he does to a ludicrous job. He’s essentially saying that much of what he sees in the cinema of today is not worth his precious New York Observer-paid time. So why would (or should) anyone ever care about one word that he writes in a review ever again? I don’t think we should. Rex Reed clearly thinks the cinema of today is stupid and a waste of his time as he alludes to in the opening sentences. And frankly I don’t need to take advice from someone who is clearly not impartial or willing to weigh all aspects of what he is paid to do, so everything he writes after that in the review is really negated (and you’d think this would have been a red flag to his editors too), but for the sake of criticism and a fair argument here, let’s continue on with the review of his review.
In the second paragraph, Reed calls the screenplay “stupefying” although he never actually backs up why he is making this claim, so I have no way of actually knowing what about it is stupefying. I guess Reed’s opinion on the matter is just supposed to be enough, because he’s such a world renown critic. Riiiight.
Soon after he’s referring to Melissa McCarthy’s character as “tractor-sized” which is where he started to repel readers. I agree, it’s a harsh way of describing her, and because he placed it in parentheses, it even seems more like he is referring to her as the actress and less as the character she plays. What’s interesting though is, clearly McCarthy is overweight, maybe she can help it, maybe she can’t, but regardless, that’s her look right now and like many of the other great overweight actors she knows how to use her size to enhance her character’s presence – and there’s no doubt the producers and director Paul Feig (whom she worked with on Bridesmaids) had any thought that she wouldn’t be great in a part like this as well, because of her size and the demeanor she has grown fond of portraying with it.
She started the character in Bridesmaids, was honored for it by Hollywood even, and so of course she’s going to be reviving that character type and building on its outlandishness and craziness in this movie (and most certainly her next one in the can with Sandra Bullock, where by the look of the trailer, she’s playing the exact same type of character, yet again). This is her role and she inhabits it well, so yes, to refer to her as “tractor sized” and later a “hippo” in the article is crass, but at the same time, it is the role she wants to portray and right now it’s working well for her, so I’d say McCarthy is probably not as burned by this name-calling as everyone thinks she is (or should be), and it’s just actual overweight people without the luxury of a fat SAG paycheck who are offended that her flaws are being pointed out in an unnecessary and cruel method when she’s become a beloved character actress for many 18-35 year old women (who are a core audience for Hollywood these days).
Another reason to pan his pointless review and anything Reed actually says, is because he clearly wasn’t even paying attention to the film when he reviewed it. I truly believe this is equivalent to not performing the duties of the job as required and should really be grounds for termination, if nothing else. If you are getting paid to review films and you can’t even get the details of the film’s storyline right, then what good are you at your job? Let’s start with Reed writing that McCarthy’s character is in Miami, Florida, when in fact she is noted as being in Winter Park, Florida (and once as being in Orlando, which is the same area). Additionally, the area code on the phone number from the salon Jason Bateman’s character is called from is 407, which is the Orlando area. So where did Reed get Miami from? If I was being cruel, I could ask, Is it senility setting in? Or deafness beginning? But really I just want to ask was he just that uninterested in performing his job to best of his ability (regardless of how much he hated the film, or it wasn’t for him, he is still being paid to pay attention and review for his audience), and at this he failed miserably.
Further on, Reed embellishes the description of how “bad” McCarthy’s character is when he lists her as “beating him up,” (which she never really does, unless you count punching him in the throat a couple of times; Bateman’s character smashes a guitar over her face and throws an iron Panini press at the back of her head). How come that’s not considered “bad?” Reed then goes on to say she “wrecks his rental car and leaves him stranded on the highway in a pair of pants stolen from a dead hobo.” While both of these details are somewhat accurate, they are most certainly not carried out in this contextual proximity, and technically, Bateman’s character was responsible for his rental car being wrecked because he stopped it in the middle of the highway without pulling to the shoulder and consequently it was t-boned by an 18-wheeler. Not McCarthy’s actual doing, in other words, but I guess it worked for Reed’s quippy sentence. This all helps to prove that he likely didn’t even see this film before reviewing it, he just phoned this in, maybe watched a trailer or two online and probably read some other synopsis’. This man should not be allowed to review films anymore, he’s clearly not a valid part of this business and is a horrible representation of what film criticism is all about.
Reed’s next couple insults are all having to do with the wackiness of the “road movie” aspect of the story. He can’t seem to fathom that they could be pursued by gangsters and bounty hunters (he also embellishes here, saying “bounty hunter and skip tracers,” but they are one in the same, and there was only one of them in the movie), and that people can jump parole and get arrested for things they didn’t do or get away with things they did. First of all, let’s talk about the standard Hollywood movie: it’s called suspension of disbelief, Mr. Reed. As a long time critic you should be fully aware of this. You don’t always have to believe what is happening on the screen is something that would happen in real life exactly the same, that’s why people like the movies, because they’re fun, exciting and they take us on adventures that are unexpected, dangerous, comical, outlandish, and likely and many times hopefully wouldn’t happen to us. Audiences like to watch movies with things happening to characters that they wouldn’t want to happen to themselves because it makes us feel better about our lives. We see movies for the escape. Second, a lot of the things that happened in the film are very much possible, just maybe not in such a concentrated amount of time as the movie portrays, but again, this is what’s referred to as suspension of disbelief.
Next Reed talks about McCarthy’s sex scene in the film, in which he unnecessarily refers to her as a “hippo.” It’s crass, pointless and just shows what an uptight, un-open-minded man this Rex Reed really is, and basically destroys any positive image one may have ever had from reading one of his film reviews during his prime as a critic. McCarthy is anything but a hippo, and in fact, is very funny in her sex scene and not in the least “grotesque” in a bad way. If you can watch any of the litany of R-rated Judd Apatow comedies of the last few years, hell, if you can watch HBO’s Girls, you know what a truly grotesque love scene can be like, this is PG-13 stuff by today’s standards. Reed is displaying that he is really a repressed prude, if he found this offensive. Also important to note here, Reed got yet another fact wrong when he notes the love interest of McCarthy as “demanding a threesome,” when that was not the case whatsoever. McCarthy’s character actually set the whole threesome up, and the guy she picked up was even scared to do it. Did Reed not even see the part of the scene where the man is crying on the bed in anticipation of having sex with her?
I find it infuriating how little interest Reed even had in doing a proper review for this movie, whether he liked it or not, the filmmakers deserved his time and meaningful criticism and instead all they got was this drivel Observer let him publish. They should be ashamed and he should be ashamed. To top it all off and even add a laugh at how preposterous and literally outdated Rex Reed is now, he ends with a closing sentence that basically criticizes the film on the fact that it uses identity theft as comedic plot device. Reed confesses that he is so afraid to even approach an ATM without the threat of someone stealing his glowingly perfect identity, that he thinks the filmmakers should have made a film that deals with this topic in a serious way. (Pretty sure that’s been done, by the way, The Net? Single White Female?).
Identity Thief is a fun comedy, and Melissa McCarthy is great in her newfound character type. Check this one out sometime, the rest of America is.
Rex Reed can be disregarded, he says what he says so that someone will pay attention to him. He’s clearly scared at becoming irrelevant. Unfortunately for him, he already is irrelevant.
Efterklang star in this unique and interesting documentary about their travels to a ghost town near the North Pole where they spent 9 days recording audio for use in their album Piramida. Directed by Andreas Koefoed, the film quickly becomes more than just a travelogue or behind-the-scenes look at their music-making process as we learn more about the previous inhabitants of this once rich, fertile, now barren and cold landscape.
Even better, the film is being released in a rather uncompromising fashion: all screenings will be free and open to the public, but can be held by anyone who wants to get more than 5 people together at one location. Kudos to whomever is behind this idea for finding ways to engage communities of the film, music and artistically-minded. Here’s a list of all the scheduled events so far. Find one near you!
For an added bonus, watch this oddly engaging, albeit personally invasive music video for the song, “SEDNA”:
Warm Bodies the number one movie in America last week? Am I dreaming?
First of all, with the ridiculous amount of Oscar Best Picture nominees again this year, you’d think the Academy’s plan to generate more interest in the movies would be working – at least in their favor – but instead, the top grossing movie is a pre-teen snoozer cashing in on both the lucrative zombie genre and the beastly, psuedo-horror/romance fad 13-year olds all seem to identify with these days. It’s so much cooler to be hot for vampires, werewolves, zombies and other one-off horror show freaks, than it is to fall for just a normal, run-of-the-mill kind of guy, isn’t it? Why don’t they ever make movies where the male characters are the ones falling in love with a physically flawed female character, by the way? I’ll tell you why, because Hollywood knows that in their already dwindling audience of males age 18- 35, none of that demographic wants to lust after a girl who looks like a zombie or the guy from Beastly. Not even if it was Bar Refaeli playing the part.
Warm Bodies is a pathetic excuse for a zombie flick to begin with, falling way short of ever providing any sort of truly cinematic zombie movie goodness. Instead it just recycles the old zombie apocalypse theme with the people who haven’t yet been bitten hiding behind a makeshift wall somewhere in a city that looks vaguely like London or New York City and with zombies milling around outside. Warm Bodies even appears to borrow a little bit of the I Am Legend look with its laughably CGI “Boney’s.” What’s worse though is how the film expects its audience to reject every perfectly plausible zombie movie guideline they know and just blindly go with this stupid story which at one point even turns into Romeo and Juliet.
The film is void of any sincere laughs, and gets by – if on anything – on its ability to make the lead zombie boy look and act cute because he’s fallen in love with a un-zombified girl. There are too many plot holes and inconsistencies to even bother referencing them here, but suffice it to say, no one seemed to notice (or care) except me. Something about this movie spoke to people. I am baffled. Look, I’m a sucker for a good romance and I love horror films from all sub-genres, so the unique plot concept about zombies painfully being alive inside their bludgeoned heads even when their bodies are dead, and the idea that they can gradually come back to life when embraced with the feeling of love, was a huge selling point for me – but this movie completely missed both marks and gave up all its opportunities to exploit its unique storyline to the fullest.
Then there are the actors – they’re terrible. Yeah, the lead girl is cute in a rip-off Kristen Stewart kind of way, but she is ultimately and instantaneously forgettable. The boy is similarly bad – the worse zombie ever in fact – I’ve seen zombie extras play more believable and horrifying than him. The boy’s movements inconsistent, unrealistic and his moaning and groaning ability to communicate short sentences to the girl and other zombies is a real chore to sit through. Even the director Jonathan Levine clearly felt that way after he saw the footage edited together, because the amount of songs which they conveniently edit into the film to absolutely no added effect, is equally boring to sit through. I find better zombie music videos online at least once a week.
The director Jonathan Levine should be ashamed of himself. This is utterly and obviously a job he took for the money, as I can see no effort, interest or talent that was put into this – especially comparing it to previous stellar work he’s done when he’s motivated and inspired, such as the hilarious and poignant 50/50. Even The Wackness was better than this.
…As I think about it more now, maybe this is the best movie to see in theaters at this moment. At least half of the Best Picture noms are unjustified and obvious promotional tactics / pats-on-the-back, but at least filmmakers like Spielberg and David O. Russell care about their craft and what they bring to the screen and if they’re making a film for the paycheck, they put a little effort into it still. The writer, filmmakers and actors (including Malkovich) of Warm Bodies, should all be ashamed of themselves for letting such drivel cost $12.50 in pointless Cinema XD since there’s about as much XD worthy action in the movie as there is in Lincoln, and as little tangible romance as there is in Silver Linings Playbook. Go see something else.
I can’t help but be reminded of the film Havoc when I watch this trailer. Not sure why, but I also keep thinking Larry Clark must be involved somehow… must remember to look that up… Anyway, here’s a trailer for Harmony Korine’s latest anomaly, Spring Breakers. Conveniently hitting theaters (somewhere) right around, um, spring break.