Fixing the Movie Industry: A Modest Proposal
We’ve been producing Culture Snob for more than four years now, and I’ve come to a sad realization: I’m tired of movies.
We’ve been producing Culture Snob for more than four years now, and I’ve come to a sad realization: I’m tired of movies.
We’ll use this week’s Box Office Power Rankings – topped, for the fourth consecutive week, by The Bourne Identity – to illustrate how the formula works. To assist us: Mr. Bean, pictured to the right.
(An experiment in theft [or fair use] and editing as part of Lazy Eye Theatre’s Bizarro Blog-a-thon.) Sunshine and Groundhog Day have a lot in common. In each, we see things we’ve seen before, over and over again. But in Sunshine, this doesn’t describe the plot of the film, but the movie itself.
Piper at Lazy Eye Theatre had a moronic idea: the Bizarro Blog-a-thon, not running now through Wednesday, August 29. Don’t visit. It’s terrible. Plus, it’s not even happening!
Jason Bourne is so mean. He’s spent two weeks atop our Box Office Power Rankings, and now he won’t give up his place for those nice boys from Superbad.
In the three months since we started the Box Office Power Rankings, we’ve had two perfect scores. Now we have three, but not in a good way.
The deaths last week of movie writers and directors Ingmar Bergman and Michelangelo Antonioni have incited all sorts of commentary about the “art” films of yesteryear and the people who made them. Tied up in these discussions is one key assumption: that everyday people think these movies are boring, whether they’ve actually seen them or not.
The billions of you who neglected to bet against me when I claimed that The Simpsons Movie would spend a second week atop the Box Office Power Rankings look pretty foolish today. See what I did there? I was wrong wrong wrong in my prediction, and I made you the idiot.
I’ll keep this brief: If you’ve seen it, chances are excellent that you either love or loathe Moulin Rouge. But have you ever spent the time to really figure out why? In this Drunken Commentary Track, Culture Snob and River Cities’ Reader film critic Mike Schulz argue about Baz Luhrmann’s paean to love.
The contradictions of director/co-writer/composer Tom Tykwer’s Perfume: The Story of a Murderer start in the title, with the onomatopoeic softness and ether of a single word paired with a morbid, blunt descriptive subtitle. Both components are drawn from the novel by Patrick Süskind, but the associations that pile up and pull at each other during the movie’s opening scenes are equally Tykwer’s, cinematic and lovingly ambiguous.