Celebrating 17 Years of Film.Biz.Fans.

the Blogs

recent Posts

  • iW NOW
    0 comments

    "Locker" For Las Vegas Critics

    Read More »
  • iW NOW
    0 comments

    Dallas-Fort Worth Critics Go "Up In The Air"

    Read More »
  • iW NOW
    0 comments

    "Precious" For African-American Film Critics

    Read More »
  • The Lost Boys
    0 comments

    The Generally Boring SAG Nominations

    Read More »
  • iW NOW
    0 comments
  • iW NOW
    0 comments

    Austin Critics Like "Locker"

    Read More »
  • REVERSEBLOG: the reverse shot blog
    0 comments

    Best of the Decade #13

    Cinephilia is usually characterized as an insatiable, promiscuous kind of love, but Edward Yang’s Yi Yi tempts me to think of it as monogamous. While this certainly isn’t the only film I’ve ever held dear, the reverence it commands leads me to a few hyperbolic convictions most often associated with romantic commitment: that its entrance into my life was destined; that I never truly loved before it; that it will always mean this much to me. As with most worthwhile passions, though, this personal canon of one arouses an impulse for self-doubt. What is it in Yi Yi that makes me think, however momentarily, that I could relinquish the rest of cinema’s varied treasures? Insofar as one’s professed aesthetic values function as an advertisement of an idealized self-image, there must be a strong element of narcissism in my devotion to this film, perhaps the false implication that I have successfully internalized the wisdom at its heart. Surely there is something maudlin about my desire to understand my life in parallel to it and my eagerness to subscribe wholeheartedly to its worldview. Not only does Yi Yi offer a space for its audience to make peace with life’s contradictions (or at least imagine what it would be like to do so), but it couples its serenity with the sense that we—like its characters—possess profound capacities for emotion that counteract bourgeois numbness. Or maybe, in love, timing is everything. My intense identification with Yi Yi—a film that came to me just as I began to fret over what it might mean to be a grown-up—once satisfied a late-teenage compulsion to rehearse the responsibilities and disappointments of adult life from a safe distance. Could it be that my continued adoration is rooted only in nostalgia? Read Andrew Chan on Yi Yi.

    Read More »
  • Thompson on Hollywood
    0 comments

    Picking the Best Original Songs

    Picking the Best Original Songs

    Sixty-three songs from eligible feature-length motion pictures will vie for nominations in the original song category for the Oscars (listed on the jump). On January 12, the music branch of the Academy will randomly screen film clips of each song and then vote for each song with points. No more than two songs can be nominated from any one film. Historically, musicals (“Cinema Italiano” from Nine), Disney animated films (Randy Newman's “Down in New Orleans” from The Princess and the Frog) and songs by major stars (like Golden Globe nominees “(I Want to) Come Home” from Everybody’s Fine by Paul McCartney, or “Winter” from Brothers by U2) tend to dominate this category. Music branch fave Marvin Hamlisch could get a nom for “Trust Me,” from The Informant!

    Read More »
    More: Awards, Oscars
  • Thompson on Hollywood
    0 comments

    Avatar's Cameron: Feminist

    When Rebecca Keegan interviewed me for her terrific Cameron book The Futurist: The Life and Films of James Cameron, I made a point of what a feminist he is. From Sigourney Weaver in Aliens to Linda Hamilton in Terminator 2, Cameron paved the way for such gun-toting action stars as Angelina Jolie. Cameron respects strong women: after all, he's been married to Hamilton, Gale Anne Hurd and Kathryn Bigelow--who will likely be competing with him for the best director Oscar.

    Read More »
  • Matt Dentler's Blog
    0 comments

    TV Everywhere: to Xfinity and beyond

    Read More »