LOVING VINCENT: Loving the Animation, Not-Loving Everything Else

I voraciously seek out any and all innovatively-designed animated movies, especially those that deviate as much as possible from the customary 3-D block-graphics popularized by Pixar, Dreamworks, Disney, Sony, etc. Given the inextricable relationship between content and form, if artists change the form that these stories take, it will open up vastly different worlds of content, desperately needed in the increasingly-tired animated sector (as I previously detailed here).

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THE LAST DETAIL (1973), and a Hal Ashby Requiem

While watching 1973’s The Last Detail in preparation for Richard Linklater’s impending sequel Last Flag Flying, I realized that no one really makes FILMS like Hal Ashby anymore, which is surprising given our current age of relentless derivativeness (at best, “homage”). It’s undeniably a testament to the distinctness of Ashby’s work on multiple fronts:

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Marvelous Documentaries vs. Marvel-ish Documentaries

Documentary filmmaking possesses a high floor in regards to the consistent quality of even its weakest offerings, largely because the subjects are almost always compelling enough to justify a feature-length examination. And yet, the genre simultaneously suffers from perhaps the most monotonous output as well due to most utilizing the same-old aesthetics.

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KILLING GROUND, WOLF CREEK, & the Current State of Torture Porn

Comparing 2005’s Wolf Creek (the movie; not the newer TV adaptation) to the recently released Killing Ground acts as a sort of Australian lens through which to examine just how much the horror genre’s relationship to gruesome violence has changed over the last decade.

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All The World’s a Stage, and All the Men and Women Merely Selfish Audiences

My main problem with criticism today, both formal and informal, can be summarized in the phrase: “the selfish audience.”

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THE FATE OF THE FURIOUS Questions the Fate of the FURIOUS Franchise

The Fast and the Furious franchise shares more with Marvel movies than just overflowing box office riches. At their cores, they seek to offer audiences exactly what they expect, which basically constitutes nothing more than things that go BOOM.

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