Licenciado en Artes. Crítico de cine.
Freelancer/Ghostwriter. Poeta de los Mal Amados. Santo Patrono de las sobras. Genio, Gracia y Magnificencia. Pope of POP
And when there's an episode called You Can Glee Everything in which Artie, now a filmmaker, documents Rachel and Jesse St. James household after the scandal of defrauding investors on a Funny Lady (not Funny Girl) Broadway show that wasn't intended to be actually made. Then what?
Sorry, I don't know what to feel yet about the return of one of the pivotal life-saver pieces of media of my existence during very fundamental spiritually formative years: Glee.
My #NYFF64 review of the rigorous and quietly intense Fatherland (Pawel Pawlikowski); perhaps one of the crucial intellectually rewarding films this year doing the festival rounds. https://t.co/HXGZbOeRJ1
@bernardosim Yeah. It can be very annoying. I think Ebert was a master of it, but he also has many other ways to write and speak about movies that weren't always about "performing". Pauline Kael on the other hand was almost always like that. And Film Twitter tends to emulate that spirit.
Very thoughtful thread that goes beyond La Bola Negra. And I agree, as a film critics we should enact some humility and grace. Honestly how could you not feel humble in front of cinema? I know the hustle demand some arrogance, and the performance of it, but we could do better.
I know we all like to feel superior to the artists we criticize, smarter and better informed, but a little humility and an acknowledgment that we might be missing things, even if only acknowledged in private, could do wonders for the reductive way we often talk about art here.
And sometimes we critics have to go back and relearn things.Go back to Hitchcock and Sarris.Go back to Godard and Canudo. To remember this still very young visual artform exist not to achieve perfection, but constantly redefine itself in a conundrum between art and entertainment.
Almost nobody could be meaner and nastier like when Ebert didn't like a movie. But you could always tell that he was contending with the movies he disliked on their level, not above them. A lot of film critics these days sound like bored doctors giving a definitive diagnosis.
At long last here's my review of La Bola Negra (Javier Calvo, Javier Ambrossi). There's so much I can say (and I will say), but this summarizes well my thoughts on why this is one of the best movies of the year.
https://t.co/pyIFHz1a4l
@blewis1103 Thanks. And taking into consideration that while this is a Hispanic work (not Latin), still the baroque inheritance came from Spain (mainly) and there's a connection there on how we tell our stories.
Finally an exciting Oscars Best Song race. Taylor and Guitarrica would be deserving winners, but there's also THAT song from The Debut, Gaga with Shape of a Woman, songs from both Behemoth! and Artificial.The Rivals of Amziah King,dark horse.And Diane Warren will always be there.
But also it's important and essential to have a Spanish Gay Titanic. We need more of that as well in cinema, directors wanting to make big beautiful ambitious movies that are still smart, profound, and reeducate the spectator to demand better from commercial mainstream movies.
What people like this do with their absolute freedom? Constantly questioning the choices and perspectives of people from nations with a long history of not having their freedoms.
La Bola Negra is bafflingly unaware of real history in a dispiriting way. Not an ounce of any understanding of fascism in any frame. Some gay guys shouldn't reveal their worldviews in a sprawling epic I fear :/
A more revolutionary movie will sacrifice the direct intention of becoming a "Spanish gay Titanic". Sure, you may want a different movie entirely with different purposes. But you have to try at least to understand the movie you're watching, and other ways it can be enlightening.
Cinephilia is truly at odds with nurturing a fitness life.
I haven't been able to train properly at the gym during this one festival after another season.