Which film critics do you trust (if any?)

http://worldatlas.com/webimage/countrys/namerica/usstates/aaposter/allen.jpg

Met him at a party recently, I believe he's writing reviews for his hometown newspaper in North Carolina or Texas somewhere. Nice guy.

Can music criticism RUIN music like film criticism can?

ask gear

Armond White, Secret ILXor!

http://mollyhaskell.com/

Eric H well worth reading, too:

http://cansesclasseled.com

http://www.rockandrollbadboy.com/videos/celebrities/siskel-and-ebert-argue/

Dr. M: I hardly trust myself.

Filmbrain on Cinemarati on White.

dunno bout the opinions but I like the writing

-- gypsy mothra (meetm...), December 2nd, 2005.

OTM. the part where he winks after being regurgitated by the snake...my lord, it fills me with JOY just thinking about it.

Haha... thanks; not to sound corny, but I'm much more concerned with people liking my writing than I am with people being interested in my opinions. That was the main reason I decided to do away with star ratings, et al.

That whole Bonnie & Clyde musical epilogue to Stuck is sorta Jerrylike-indulgent, in fact.

i like the adrian martin/j-ro axis, but i suppose i less and less stay in the loop, foerign-langauge films wise. i don't really get a lot of the love going to, in recent years, taiwanese or chinese cinema, i don't get the 'metaphysical' aesthetic used in their support. so i don't feel that much trust for anyone.

a lot of this has to do with her having just filed 6,000 perfect words, on time, to my exact specs. but hey. like i say, i'm biased.

"The New World" is rated PG-13 (Parents strongly cautioned). There is some intense, bloodless violence and the beautiful underage lead actress may cause cardiac arrest among some viewers.

yup, the critics write those lines. they are sometimes pretty funny.

"directed between naps by Rob Reiner"

But still.

Yeah, I recall a damned fine piece on Polanski's MacBeth and a great history of the Hollywood Roman Epic.

I cannot stand Catherine Tate. Shrill and witless. Gaahhh!

Damien Love has good taste by and large. He stuck his neck out for Catterick and wrote very well on the Scorcese Dylan documentary. And he always points out interesting 70s US indie films and weirdo horror flicks that are on at 2 in the morning. Only thing he loved I wasn't so keen on was the Chris Isaak show, which was trying to be Larry Sanders with surreal asides but didn't really work.

I've never missed Gene Siskel so much.

"I think it’s a major cultural disaster for the English-speaking left-wing that Cahiers du cinéma caught the fashion when it did – first with the Nouvelle Vague and then again in May 1968 – and that Positif didn’t. [...] Now I come to think of it, Positif throughout the ‘60s was fed by a double stream, of anarcho-Surrealism and of Marxism, that combined aspects of two alternative extremes — the hippie years as a kind of neo-anarcho-Surrealism, and the rebirth of Marxism. But English-speaking film criticism has been spinning between a right-bank aestheticism and a sort of bourgeois radicalism."

"Moreover, one reads against one’s own opinions, doesn’t one? Sometimes one only realises a movie is not being understood or needs defining or attacking by what one’s colleagues say. And then again some disagreements are very affectionate, you know. Grateful, like a friend whom one meets to have arguments with."

http://mattzollerseitz.blogspot.com/2006/04/cinema-dead-and-alive-interview-with.html

"The success of films like 'Crash' and 'Syriana' represent the creeping erosion of cinematic values by television values. [Judging by the Oscars,] the filmmaking community considers those films artistic. But to me, 'Crash' is the opposite of artistic. Somebody on the news pointed out that on the Village Voice Critics Poll it was #66. It was so far down. It’s not like the Hollywood community said, “Look, the critics have embraced this film!” A lot of critics cried bullshit on it. Nonetheless, that kind of value is overtaking traditional cinematic values just in terms of very basic entertainment terms Hollywood is used to dealing with. That is a terrible phenomenon, too, but it is not a matter of a fluke this year. It’s an ongoing process and the more you see this validated in forums like the Oscars, the more that will become the definition of film art."