Longtime film critic/historian Jonathan Rosenbaum has been staying busy since his departure/retirement from the Chicago Reader. In addition to his ongoing DVD column for CinemaScope, Rosenbaum recently wrote a lengthy piece on 100-year-old Portuguese filmmaker Manoel de Oliveira (yes, he’s still making movies!) for Film Comment, he took part in a “Criticism in Crisis” panel at the New York Film Festival and unveiled his new Web site, JonathanRosenbaum.com.
Presented essentially in blog format, the site features many of his archived Reader reviews (with more coming every week) as well as new musings on myriad film topics, including an essay on cinema trends during the George W. Bush years entitled “Bushwacked.”
Incisive on a number of the levels, the piece — originally written for the latest edition of the Time Out Film Guide — discusses how our rapidly fracturing cultural sphere has impacted movies (and moviegoing) before moving into an investigation of how this development parallels President Bush’s own bubble mentality. (It’s a dismaying turn of events I like to call the Death of Context.)
Of course, Rosenbaum’s diagnosis is often dire, effectively linking Bush’s blissfully ignorant governing techniques with the rapidly changing landscape of serious film culture. Fittingly, he also writes about the various Iraq War-based films that have sprung up in recent years, most of which have garnered disinterest from the public at large while nevertheless providing a vital history the mainstream media has either glossed over or ignored altogether.
And, ever the contrarian, Rosenbaum couldn't help but get in another dig at No Country for Old Men, which he considers the most overrated film of 2007.
That last opinion aside, “Bushwacked” is essential reading.
There's no denying that the Guild had a tough job in narrowing the field — it was another stellar year for the ever-evolving genre — but only two of the final five would have made my list: Inside Job (read my interview with Ferguson here) and Client 9, both of which appeared on my top 10 list of 2010 films.
With what is likely to be the summer’s biggest box-office splash (Michael Bay’s latest Transformers outing), high-profile drama (Michael Mann’s Johnny Depp-led Public Enemies) and satirical (and likely controversial) comedy (Sacha Baron Cohen’s Bruno) looming in the near future, we actually have a solid collection of new releases this week, led by a pair of art-house gems and what looks to be a surprisingly effective romantic comedy.
The final episode of At the Movies aired last weekend, marking the end of an era that began more than 30 years ago.
Featuring a pair of geeky Chicago-based film critics — Roger Ebert from The Sun-Times and The Tribune's Gene Siskel — the long-running show debuted as Sneak Previews in 1975 before switching to At the Movies in 1977. The premise was simple: two people talking about that week's releases with passion, intelligence, wit and personality.
I know we’re in the midst of an economic recession not seen since before The Wizard of Oz — but we only have one Hollywood studio release this week? And the one is 2012, the latest effects-driven, apocalyptic nonsense from Roland Emmerich?
By now I typically unveil my favorite movies from the first half of the year. Yet looking back on the first six months of 2010, only two films —Lee Unkrich's Toy Story 3 and Banksy's Exit Through the Gift Shop —have discerned themselves as unqualified contenders to make my year-end list.
In an obvious stroke of marketing synchronicity, it’s no coincidence that James Franco’s and Anne Hathaway’s recent films are being released on DVD/Blu-ray this week, just a few days after the duo hosted Hollywood’s biggest yearly extravaganza of pomp and self-congratulation.
A pair of new books centering on film critic Pauline Kael — The Library of America's lavishly rendered The Age of Movies: Selected Writings of Pauline Kael and Brian Kellow's incisive biography Pauline Kael: A Life in the Dark — have resulted in an avalanche of recent Kael appraisals and reminiscences a decade after her death in 2001 and 20 years after her retirement from writing in 1991.
I can't quite remember when I became aware of Kael, but it had to be in my late teens, which is when I began to move beyond the Hollywood blockbusters of my youth and into deeper, more adventurous cinematic waters. I do know that my initial Kael exposure occurred after she had retired from The New Yorker, where she rather famously wrote film essays and reviews for nearly 25 years.
Peter Biskind — a former Premiere magazine editor and longtime journalist who wrote the fascinating, endlessly entertaining book about the 1970s American movie scene, Easy Riders, Raging Bulls — recently published a biography called Star: How Warren Beatty Seduced America.
I’ve yet to read the book, which, among other things, apparently tells us that Beatty might have slept with more than 12,775 woman — a number that doesn’t include “daytime quickies, drive-by blowjobs, casual gropings, stolen kisses and so on.”