Man of Steel
The title "Man of Steel" tells you what you're in for when you buy a ticket to this immense summer blockbuster: a radical break from…
The title "Man of Steel" tells you what you're in for when you buy a ticket to this immense summer blockbuster: a radical break from…
Claustrophobia isn't often considered a cinematic asset beyond tales of suspense and horror. But "Fill the Void," an award-winning Israeli drama about a naive 18-year-old…
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Named after the David Cronenberg film, this is the blog of RogerEbert.com founding editor Jim Emerson, where he has chronicled his enthusiasms and indulged his whims since 2005. Favorite subjects include evidence-based movie criticism, cinematic form and style, comedy, logical reasoning, language, journalism, technology, epistemology and fun. No topic is off-limits, but critical thinking is required.
From a Quentin Tarantino interview with Ella Taylor in the Village Voice:
Film criticism is in a strange place. Talk about 17 years later! [After "Reservoir Dogs."] I could never have imagined that print film reviewing would be dying. It's unfathomable to me. I don't like reading film criticism on a laptop. I like holding it in my hand.
You're a geezer, Quentin.
Exactly. It seems to me from reading a lot of the film criticism that came out of Cannes this year that the few print critics that are left writing are so busy combating these Internet bozos that there's a new formalism, a new self-seriousness among remaining critics, to prove they're professionals. Even some of the younger critics who are still writing in print--well, they're not that young--are coming across like young fogies. There are some good online critics, but then there's these fanboy types: "Ooh, this sucks balls." It's a little bit like '78, '79, '80, where exuberance in filmmaking is not getting its due anymore. For example, "The Blues Brothers" never got any respect. Now, it truly is beloved, as it goddamn well should be. I mean, it's sad to think of what happened to John Landis after "An American Werewolf in London," but in those two movies, he was the first fanboy director making movies out of his head.
And, regarding his favorite movies of all time in life:
I can tell you now. This got picked up on from [your] piece [17 years ago] for the next five years, those top three in particular: "Taxi Driver," "Blow Out," and "Rio Bravo." I've changed. I know I was cagey about it before, but my favorite movie of all time is "The Good, the Bad and the Ugly." That's the best movie ever made. I can't even imagine myself doing better; that's how much I love it. I would also throw "His Girl Friday" in there. The fifth will always be however I feel at the moment. So I'll throw in "Carrie," give De Palma a shout-out.
(Above: Tarantino dances up the red carpet at Cannes, 2009. AP photo.)
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