Headline in the New Cat Times: “Cannes Film Festival Bans Feline Actors!” “Eek, how did I not see this before we got on the plane?” squeals Siamese beauty Nico, stretched out on her seat on Air Felix. “You were too busy preening in the mirror,” says her housemate Chubbs. “Well, your scruffy striped coat could use a little of that,” she snaps, her paws trembling with rage as she reads the shocking report.
A look at the different activation experiences that made fun for fans at this year's Comic-Con.
One of the most audacious American films from the 1960s is now available via the Criterion Collection.
A preview of the 54th New York Film Festival, including "Son of Joseph," "The Rehearsal," "Graduation," "Sieranevada" and much more.
An interview with the director of Sundance World Dramatic Competition entry "Umrika."
Barbara Scharres conveys her fourth day at Cannes, including screenings of "Saint Laurent" and "The Wonders," along with a press conference for John Woo's "The Crossing."
A history and appreciation of R.W. Fassbinder on the launch of a retrospective screening series at the Lincoln Center.
For those of us who missed our calling as jet setters, socialites or fashion models along comes the edifying, spritely documentary "Versailles '73: American Runway Revolution" to show us how much work it is to be spontaneously fabulous.
Nearly 40 years ago, in late November of 1973, something rather momentous happened at the Opéra Royal on the grounds of the King's old digs outside Paris. In the course of a fashion show that Women's Wear Daily dubbed "The Battle of Versailles," boldly assertive American runway models -- many of whom were what we now call African-American -- wore sporty, comfortable American designer clothes with such, well, panache that the absolute supremacy of French haute couture was dented for good.
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: