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Tag: film criticism

  • World War Z Has The Critics Split

    World War Z is opening in theaters tomorrow. It seems to not have much in common with the fan-favorite novel, but the movie itself has garnered a somewhat favorable critical reception.

    As of now, World War Z is sitting at a 70 percent on Rotten Tomatoes. A number of top critics are giving it favorable reviews saying that it’s a good zombie film despite some issues.

    Ty Burr of the Boston Globe had this to say in his review:

    “The surprise of the absorbing, frightening “World War Z” is that what sounds ridiculous on paper turns out be a gripper on the screen.”

    Laura Clifford from Reeling Reviews praised the film while deriding its use of 3D:

    “One thing Forster’s done well is convey the sheer speed in which a major city can be brought down by the undead…Of course, the decision to convert all this to 3D simply means that many of these quick moving action scenes become a chaotic blur…”

    It has received its own fair share of criticism, however, as some critics were upset over a whole host of issues.

    Cameron Williams of The Popcorn Junkie criticized the film’s benign nature:

    “A zombie film made by a parents group. A sanitised entry into the genre to ensure that twelve year-olds can lap up the action without mum or dad having to wash their sheets in the morning.”

    Curtis Woloschuk of the Willamette Week references the film’s troubled production in his criticism:

    “Hollywood executives can sleep a little easier at night, once again content in the knowledge that throwing enough money at a problem can solve it.”

    As with any film adaptation of a popular book, opinions are going to vary wildly. It sounds like those looking for a decent zombie flick that’s safe for the kids will probably get some enjoyment out of World War Z, but those looking for a more traditional zombie flick will have to look elsewhere.

  • Andrew Sarris, Influential Film Critic, Dead at 83

    Andrew Sarris, the man responsible for championing the “auteur theory” and a pioneer of the annual Top 10 films list, has passed away due to complications from an infection. He was 83.

    Inspired by his love of film, Sarris made a name for himself writing reviews for The Village Voice — his first write-up was for the Alfred Hitchcock film “Psycho” — and was one of the earliest supporters of foreign cinema during the 60’s and 70’s. In addition to singing the praises of then-obscure filmmakers who would go on to be heralded by their peers, Sarris was one of the earliest adopters of the “auteur theory”, which, in short, is the belief that a director’s voice is the driving force behind any motion picture. Although some chose to disagree with his stance — fellow critic Pauline Kael famously denounced the auteur theory — it’s hard to argue with Sarris’ contribution to the world of cinema.

    Through his reviews and observations, movies stopped being disposable entertainment. They were discussed, debated, and critiqued with a passion usually reserved for the art and literary worlds. Directors became filmmakers, and movies ultimately became cinema. His love of the medium helped introduce such names as Federico Fellini and Ingmar Bergman to American audiences, who were slowly gravitating towards art house theaters to see foreign pictures that were previously unavailable. Without Sarris’ contributions, the cinematic landscape, for both filmmakers and critics, would be quite different than it currently is today.

    After leaving the Village Voice in 1989, Sarris wrote for The New York Observer until he was laid off in 2009. In addition to duties as a film reviewer, Sarris also wrote two screenplays, served as a story consultant for 20th Century Fox, and helped form the National Society of Film Critics. In order to spread his knowledge of cinema with the younger generation, Sarris also taught at Columbia University, New York University, and Yale University.

    “The terms of the battles he fought for the films he loved have receded into the past — the rivalry with Pauline Kael that we saw as epic at the time, the campaigns on behalf of the auteur theory,” film critic Joe Morgenstern said Wednesday. “Yet Andrew’s passion for films — and for his beloved Molly — remained undiminished, despite declining health. Indeed, in recent years his film love seemed to intensify as it grew ever more inclusive.”