Hunt for the Wilderpeople
A road movie and coming-of-age tale, Hunt for the Wilderpeople is consistently clever and even moving—proof that we’ll keep listening to familiar stories if they’re…
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
An article about films that have moved me in 2015, including "Room," "99 Homes" and "He Named Me Malala."
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Martin Stirling's "Most Shocking Second a Day Video"; Queer films about straight people; Misunderstood "GoodFellas"; Chatting with Steve Kloves; Sex in David Lynch films.
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A profile of 2015 Ebertfest attendees Daniel and Janet Weber.
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Awarding Jason Segel the "Spit Take" award and discussing The End of the Tour.
A film-by-film preview of the 2015 Ebertfest.
Meet the critics attending Ebertfest 2015.
Ebertfest to welcome Jason Segel, James Ponsoldt, Chazz Palminteri, Jon Kilik, Julieta Zylberberg and Alan Polsky.
A preview of Ebertfest 2015.
The best of Sundance 2015.
Performance highlights of Sundance 2015.
A review of James Ponsoldt's "The End of the Tour" with Jesse Eisenberg and Jason Segel.
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Our most anticipated films of the 2015 Sundance Film Festival.
Joe Swanberg is not only not going away but he's entering a new phase of his career.
Female Pleasure Is the Real TV Taboo; Blue Is the Warmest Controversy; Condescending to Vincent Price; Why Journalists Should Learn to Code; an MFA writing workshop for the Bible.
Why sequels never die; Harper Lee settles her lawsuit; a magazine for the working girl; end-of-life plans; a resurgence of New England's wildlife; Germany's Christian Democrats' unfortunate logo; "The Future With Love" trailer.
When I was a child I was taught that it was unacceptable to call something -- a movie, a song, an activity -- "boring" because: 1) it doesn't make sense (a thing can't be boring, unless perhaps it is a drill bit; a person feels bored); and 2) it's indefensible, since the quality of "boringness" cannot be isolated or identified as an element of the thing itself; it's a feeling and it is yours).
So, saying something is "boring" is not exactly like saying something in a movie is "funny" or "moving" -- though, again, I'd prefer to place the responsibility for a response on the "feeler" rather than on the object -- because at least you can describe how something is presented or intended to be received as humorous or touching, even if you don't think it is. (Yes, there are exceptions to that, too.) I mean, a joke or a gag or an emotional situation can be objectively analyzed, but there are no agreed-upon cultural standards for evaluating "boring."¹
"Boring," I believe, is more like the word "entertaining" -- too vague to be of much use in a critical vocabulary. So, I might say I found something about a movie "tedious" or "engaging" or some other thesaurus word, but I'll attribute the emotion to myself and my taste, and even then not without a serious attempt to describe what I'm talking about, and to give at least one specific example.²
But now, "boring" is hot, at least in overheated Interwebular film criticism circles, since the publication of Dan Kois' New York Times Magazine piece called "Eating Your Cultural Vegetables," in which he says: