“I’d like to echo a request for more thorough and less academic reviews that are addressed to those of us in the Asheville area who look forward to getting some good ol’ useful, if cranky, advice from reviewers at the Xpress.”
“Two male film critics joined by a third. Color me dismayed.”
“These guys clearly know their stuff. I appreciate their reviews, but then I have learned to appreciate my way through life, because it is ever so much more enjoyable when I do, LOL.”
“I really do not care how big the reviewer’s vocabulary is, I just want to know if the movie is worth seeing or not.”
“I like your [movie] reviews and comments, but it would be nice if you also had a link to where the movie is playing. “
As a kind of passive guilty pleasure, Wife Swap held just the right level of appeal to make me say yes. So I immediately called Justin Souther and asked, “Hey, you wanna be on Wife Swap?”
By and large, even a movie savvy town like Asheville simply isn’t that keen on subtitled films.
I spent a couple days this past weekend in Orlando and Winter Park (that’s Orlando with attitude) at the Florida Film Festival. I was curious to see the event and compare it to our own Asheville Film Festival.
I admit that it’s often more fun to write a bad review, even if it’s not so much fun to sit through a bad movie.
Stop for a minute and think back on what we’ve seen in Asheville strictly because of the Fine Arts.
What interests me most about the criticisms leveled against Slumdog lies in the general nature of the remarks. Each of the critiques rests — at least in part — on the concept of realism. The idea is that the film isn’t realistic.
The bigger picture isn’t just the lack of titles. It’s far more than that. It’s the fact that making these titles unavailable is causing a younger cineastes to have a very skewed view of the history of film. Put simply, you cannot understand the various eras of movies without having access to a broader cross-section than is now available.
We’ve been besieged by movies bearing the critical designation “an instant classic.” A what?
Midnight Meat Train may be no classic of the genre, but it’s certainly a better and more interesting film than most of what passes for horror movies these days.
Local movie reviewers, including the Mountain Xpress’ own Ken Hanke, will dissect the upcoming Academy Awards ceremony tonight (Wednesday) on public radio station WCQS.
Let us examine the pitfalls of revisiting some long unseen favorite movie or TV show from your younger years.
The comments and debates — along with readers’ personal anecdotes — have been lively, civilized, fun and thought-provoking, which is exactly what online exchanges ought to be. Now, that I’ve established the fact that I think highly of the folks who post here, let me put something to you: where do we go from here?
Madness has been a staple of movies as long as there have been movies, and it affords us an absolute treasure trove of great moments in film, because — at least so far as the cinema is concerned — madmen are amazingly gregarious.
I’m not that impressed by the Oscars, period. They simply have too long a history of overlooking anything and anyone that might frighten the horses in favor of the safely middle-brow. All the same, it’s impossible to be interested in movies and completely ignore the damned things however irrelevant you think they are.
The real question is whether 3-D is the saviour of the movie business or just the gimmick du jour.
Film criticism, film theory and film history — all inextricably related — are by necessity voracious animals. The problem is that there’s only so much to work from — even though there’s more of it all the time. This can result in some pretty curious notions.