The directory doesn’t offer bios but instead concise capsules whose brevity is belied by their insights. Volume 44, No. If you have some time, would you be able to briefly comment on ? Manny Farber Alongside his interest in new media’s ontological collision with human cognition and perceptual reality is a stalwart passion for old-school avant-garde celluloid (lovingly categorized as “Indeterminate Cinema”); recent “Artists in Focus” have included Guy Sherwin, David Gatten, and Morgan Fisher. This bilingual Francophilia is to everyone’s benefit: translations of news items and interviews otherwise unavailable in English and illuminating comparisons of European and American responses appear regularly. With a no-nonsense formality, the visitor is offered three resources: his films, his writings, and his photos. Flixster shows cinema times, reviews, DVD releases and much, much more! And for those still worshipping at the altar of Woody Allen, Brody’s got your back.—Brynn White, indieWIREFlaunting the “independent” banner with business-minded acumen, indieWIRE stands as a prime example of the ways in which commercial online outposts serve up news, information and interactive commentary. I have made a list in Simulty: (giving you, of course, full credit) where you can search for your film in all 10 sites simultaneously. For kids wondering why they weren’t growing up drowned in orgies like their older brothers in the 1970s, [it] was the perfect demonization tool.”) But following the snaking paths of his musings proves quite rewarding, not least for the way he intertwines the analytical with the personal. A father of two who came of age in the heyday of New Hollywood, Cozzalio’s cinematic reference points run as broad and deep as any salaried movie reviewer; but unlike the professionals, who are often required to waste spleen on films toward which they feel indifferent or hostile, Cozzalio has the luxury of focusing on the movies he actually enjoys. His reflections on the site tend to circle back to the changing experience of filmgoing today. Fujiwara, an occasional Film Comment contributor and author of several perceptive critical studies (on Tourneur, Preminger, and Jerry Lewis), says that he sees the project partly as “a magazine about film criticism.” Under the aegis of FIPRESCI (The International Federation of Film Critics), the journal’s focus and cosmopolitan character seem fitting, but it’s a real credit to Fujiwara’s editorial hand that Undercurrent transcends professional insiderism. Posting individual entries in roughly equal measure, Bordwell and Thompson have taken to the online world’s characteristically more relaxed and informal mode of address. speaks to the breadth of topics and range of methodologies at work: the complex construction of Louise Brooks’s on and off-screen personae; notions of sexuality and homeland in Michael Lucas’s Middle Eastern porno Men of Israel; the intersections of cinema and cartography as expressed in Baz Luhrmann’s Australia (the Melbourne-based journal has always been a particularly valuable source for writing on Aussie cinema). Access to his interviews, and the many extraordinary polemics he penned for Cahiers du cinéma in the Fifties and Sixties, has also been limited. By The BBC have an outstanding podcast called Kermode and Mayo's film reviews. London, England, United Kingdom About Blog Founded in 2012, this is an entertainment website dedicated to film reviews, movie trailers, film festivals, and indie film making. it tended to produce.” They hope to “cultivate a space [for] more speculative and porous ways of thinking that can cut across the typical genres, styles, and media of thought.” The first issue was entitled “Jargon” and approached, in a manner both critically acute and slyly ruminative, the ways that epithet gets bandied about. And the writing is anything but ephemeral: Bordwell’s post on “new media and old storytelling’’ was selected for the paperback edition of the Library of America’s American Movie Critics, edited by Phillip Lopate. TFUH proudly offers “a general discussion . In practice this means that the content is delightfully varied: reviews of new releases, coverage of repertory events in the Los Angeles area, nostalgic looks back at trashy gems that won’t even play on cable. In addition to top-notch criticism, the sleekly designed website features an exhaustive but easily navigable list of online resources for cinema-related research, a calendar highlighting the most significant film events around the world, and an audio treasure trove of MOMI’s Pinewood Dialogues with film and TV luminaries.—Andrew Chan, Continuing Artforum’s tradition of film writing begun in the late Sixties by such luminaries as Annette Michelson and Manny Farber, the film blog at also gives space to a wider range of subjects than the print publication and more reflections from a welcome roster of critical voices including James Quandt, Amy Taubin, Jonathan Rosenbaum, Ed Halter, Nicolas Rapold, Melissa Anderson, Andrew Hultkrans, Michael Joshua Rowin, and more. Rate, review and tag films as you add them. This is a great list and very informative. Websites such as Rotten Tomatoes and Metacritic, seek to improve the usefulness of film reviews by compiling them and assigning a score to each in order to gauge the general reception a film receives. The Japan Times Film Section. A post noting the death of actress Carol Marsh features an image of a pigtailed, bedridden Carol calmly gazing off-screen left, followed by a wild-haired, quite vampiric Carol perched in a tree and leering off-screen right; as a micro-meditation on the dualities of a screen persona, it’s genuinely haunting. Mubi (the website formerly known as The Auteurs) The driving force behind The Criterion Collection’s November 2008 website overhaul, The Auteurs combines a film library with a social networking platform and an online journal called The Notebook. Fred Camper. You can also use this site on the go in the form of their Smartphone app. When he’s at his best, though, he navigates the cyber landscape with the ease of any “digital native” youngster. Similar to Rotten Tomatoes, this site averages out reviews and gives it a score out of 100. This review sites really influence viewers. Collating quotations from innumerable sources, Debuysere is much more than a mere cut-and-paster—the rhetorical patchwork of interviews, articles, and program note snippets have a synthetic brilliance all their own, further gilded with Debuysere’s original observations and erudite commentary. Please try this related post: very nice information bro for, Hello sir, . Its first entries were extended exegeses and analyses of The New World’s formal, narrative, and thematic qualities. As well as this, they also have a wide variety of other information on the site. . Kenny has always been ambivalent about the position online criticism holds in the cultural discourse. For connoisseurs of criticism, D’Angelo’s voice is immediately recognizable for its unique cadence: a blistering mix of erudition and wit that’s at once stimulating and pleasurable, thorny and inviting. Unapologetically auteurist in design, Strictly Film School’s biggest draw is its jaw-droppingly extensive Director’s Database that boasts over 500 names, from canonical faves like Chantal Akerman and Pedro Almodóvar to the less known (but no less worthy) Joaquim Pedro de Andrade and Lisandro Alonso—and that’s just scratching the surface of the As. Lindbergs has a terrific eye for both composition and charisma, and she’ll snatch up any topical hook to assemble impressive mini-galleries of beloved stars and directors memorialized in press photos and candids. One of the most popular providers of short film reviews in the UK. It’s rare to find such subjects spotlighted with so much eloquence, and it’s with essays like this that the site really scores.—Benjamin Shapiro, Acidemic Acidemic is to be experienced more than summarized. Movie Reviews Great Movies Collections TV/Streaming Features Chaz's Journal Interviews MLK/FBI Myth and legend are pushed aside, creating a human portrait of a great leader, warts and all. The holdings of this online collection cut a wide swath, including what is apparently still the only published English translation of Rivette’s key 1961 essay “On Abjection,” concerning the morality of film style; two essential extended interviews with Rivette from 1963 and 1981 (the latter previously untranslated); and even a listing (compiled by a dogged Joseph Coppola) of all of Rivette’s star ratings given to films in Cahiers du cinéma from 1955 to 1966.—Paul Fileri, CinebeatsCinebeats chronicles “one woman’s love affair with ’60s and ’70s-era cinema.” As this informal mission statement suggests, those looking for hard historical data or deep academic readings should keep moving. Reader to the Chicago Reader), contributed pieces to Senses of Cinema, and provided several essays for the British DVD imprint “Masters of Cinema”—but his blog doesn’t beat around the bush when it comes to its geographic specificity. Sconce’s blog, billed as “An Index of Co-Morbid Symptoms,” skims lurid treasures off the cesspool of mass media with a timeliness that a critical anthology or symposium could never provide. Now playing. But the Internet can be credited with extending his name’s reach among a wider movie-loving readership, and this exhaustive online anthology ensures that we can all continue to learn from his work.—Andrew Chan, RougeAfter wandering through the new-media forest of so many hyperactive, cluttered web pages, the spare layout of the Australia-based online film journal Rouge feels like a clearing in a forest—a clean, well-lighted place for an ardently cinephilic readership interested in some of today’s finest long-form critical writing. Futhermore, it is very easy to handle with and to get used to it. Thanks for your kind words! Film critic Jonathan Rosenbaum has written several books and for years wrote for the Chicago Reader. I’m glad to hear you liked the article and found a nice tip to try out., if you need help with anything, we’re here for you. Though the completed movies rarely live up to the pre-release buzz, cinephilia often indulges such pie-in-the-sky speculation. Top-Up BA (Hons) in Film and Performing Arts, Walter Metz is a Professor in the Department of Cinema and Photography at Southern Illinois University, where he teaches film, television, and literary history, theory, and criticism. in the July-August 2010 Issue, The Self-Styled SirenClassical Hollywood fetishism has found a most enchanting ambassador. November 2020., I like Jellypedia. You may be surprised how comprehensive it is. Japanese version: English v… (Jim’s response to Ramin Setoodeh’s infamous can-gay-actors-play-straight? Nice and very informative post. Her are some great tips on writing a great review. Whether dusting off forgotten gems and industry players or providing fresh analysis on the already canonical, the Siren speaks with the grit, gumption, and savvy of the pre-Code ladies she so admires. Online film criticism Aggregators. Since 2004, the site’s team has collaborated with the British DVD company Eureka to produce a Masters of Cinema curated collection, notable for the sterling care taken with each disc and the inclusion of top-notch book-length liner notes. That a stinging pan of Cameron’s blockbuster gets roughly half the space of an appreciative look back at Lav Diaz’s filmography is enough to give the most despairing cinephile reason to hope.—Matthew Connolly, The House Next DoorSalon writer Matt Zoller Seitz has been in the game a long time. He offers his readers a philosophical, macrocosmic grasp of film today: its marketers, its creators, and its audiences—including his two teenaged daughters and their responses to films both contemporary and classic. academic, but Wright’s thoughtful enthusiasm guides you gracefully through the intricacies of, say, the narrative functions of Jerry Goldsmith’s scores or inside-baseball debates on 5.1 versus 10.2 surround sound systems. It’s fitting that he would go on to found Not Coming to a Theater Near You, an ambitious online resource for reevaluations of forgotten and fringe cinema. And serious lovers of film criticism can appreciate Kenny’s regular lambasting of his two favorite punching bags, Hollywood Elsewhere’s Jeff Wells and the New York Press’s Armond White.—Evan Davis, Wright On Film Writing with a Bordwellian clarity and analytical rigor that’s perfect for unpacking the components of cinematic form, Benjamin Wright’s site is a fount of smart discourse on modern film aesthetics. Brody published his landmark opus on Jean-Luc Godard (Everything Is Cinema) in the summer of 2008 and his investment in the Nouvelle Vague legacy peppers his daily blog. Some months there may be as few as two or three entries, but the thoroughness of Sallitt’s historically informed criticism gives his blog a distinctive lasting value. Taylor’s prowess as an editor lies in an innate ability to skirt both irreverent fan-boy pitfalls and highfalutin postgrad navel-gazing; the writing remains doggedly non-academic while retaining a sharp populism and simple elegance often lacking in similar niche sites. We use cookies to ensure that we give you the best experience on our website. Bridging the gap between serious criticism and scholarship, the journal is noteworthy not only for its consistently insightful prose and wide-ranging subjects—often pegged to important film exhibitions—but for its regular inclusion of video essays, an exciting emergent format that has been pioneered by frequent contributors Kevin B. Lee and Matt Zoller Seitz. I actually wasn't aware of Roger Ebert, I'm glad I know now. Elsewhere, he’ll trace the emotional trajectory of a performance, with particularly loving attention bestowed upon dignified British actresses in silent turmoil, from Celia Johnson in Brief Encounter to Maggie Smith in The Prime of Miss Jean Brodie. Thanks for sharing this post about movies. A journalist in Dallas before emigrating to New York, he wrote for the New York Press for a number of years and has made both narrative features and a batch of incisive, illuminating video essays. Seitz may have started small, but like the film he championed back then, his opus could not be contained.—Evan Davis, Reverse Shot Despite being based on an open-source content management system instead of smudgy newsprint, the audacity of Reverse Shot lies in its “spirit of ’68” adherence to principles of print journalism. Most impressive, as any dedicated digi-critic will tell you, is the community of commenters and fellow bloggers that have responded to Cozzalio’s work: their robust and insightful engagement lives up to Wired magazine’s Web utopianism.—Violet Lucca, Some Came RunningGlenn Kenny was once a respected critic and editor for Premiere until he became a casualty of capitalism’s war on journalism. As someone who doesn’t believe in the concept of the guilty pleasure, Cozzalio doesn’t approach the “lowbrow” with caustic irony or overcompensating veneration; the oeuvre of Joe Dante is treated on its own terms. Not Coming increased its profile in 2009 by partnering with the NYC revival venue at 92YTribeca, where editors and contributors present public screenings of rare and controversial classics. Hi, The site has done especially sharp and enjoyable work in the single-theme tribute format: a special section on John Ford, an homage to Danièle Huillet. And Ferrara has a real eye for juxtaposition. The days of greybeard, white men writing reviews and chastising a film for not living up to a French film released 40 years prior are over.