The Good, the Bad and the Godawful: 21st-Century Movie by Kurt Loder

By Kurt Loder

The former Rolling Stone author and MTV host takes to the air from vintage Roger Ebert and sails boldly into the hot millennium.
Millions grew up analyzing the author’s checklist studies and staring at him on MTV’s “The Week in Rock.” during this number of greater than two hundred motion picture stories from and, extra lately, the Reason journal site, plus sidebars particular to this quantity, Loder demonstrates his attribute wry voice and finely honed observations. the writer shines while writing at the most sensible that Hollywood and indie filmmakers need to provide, and his adverse studies are often extra enjoyable than his raves. This freewheeling survey of the wild, the fantastic and the altogether another way is an necessary ebook for any movie buff.

Show description

Read or Download The Good, the Bad and the Godawful: 21st-Century Movie Reviews PDF

Best film books

Dreams and Dead Ends: The American Gangster Film

The second one variation of this vintage learn offers a reintroduction to a couple of the main movies and theoretical concerns of movie noir and gangster movies in twentieth-century the USA. starting from Little Caesar (1930) to objects to Do in Denver while You're useless (1995), Shadoian courses the reader via twenty vintage video clips of the style.

Hollywood's Copyright Wars: From Edison to the Internet (Film and Culture)

Copyright legislation is necessary to each degree of media construction and reception. It is helping ensure filmmakers' inventive judgements, Hollywood's company constitution, and the forms of media intake. the increase of electronic media and the web has basically accelerated copyright's achieve. every person from manufacturers and sceenwriters to beginner video makers, dossier sharers, and web marketers has a stake within the historical past and way forward for piracy, replica safety, and the general public area.

Beginning with Thomas Edison's competitive copyright disputes and concluding with fresh court cases opposed to YouTube, Hollywood's Copyright Wars follows the fight of the movie, tv, and electronic media industries to steer and adapt to copyright legislations. lots of Hollywood's such a lot valued treasures, from smooth instances (1936) to celebrity Wars (1977), can't be absolutely understood with out appreciating their criminal controversies. Peter Decherney exhibits that the background of highbrow estate in Hollywood has now not constantly reflected the evolution of the legislation. Many landmark judgements have slightly replaced the industry's habit, whereas a few quieter regulations have had progressive results. His so much amazing contributions discover Hollywood's reliance on self-regulation. instead of contain congress, judges, or juries in settling copyright disputes, studio heads and filmmakers have frequently stored such arguments "in house," turning to expertise guilds and different teams for options. even if the problem has been scuffling with piracy within the 1900s, controlling the specter of domestic video, or coping with sleek novice and noncommercial makes use of of secure content material, a lot of Hollywood's engagement with the legislation has happened offstage, within the greater theater of copyright. Decherney's precise background recounts those extralegal suggestions and their effect on American media and culture.

The Cinema of Hal Hartley

Essentially the most major members to the yankee self sustaining cinema that built over the past due Eighties and Nineteen Nineties, Hal Hartley has all through his profession created motion pictures that defy conference and catch the stranger realities of recent American lifestyles. The Cinema of Hal Hartley appears to be like in any respect of Hartley's movie releases - from cult classics reminiscent of The unimaginable fact and belief to oddball style experiments resembling No Such factor and Fay Grim to brief movies akin to Opera No.

Xerox Ferox: The Wild World of the Horror Film Fanzine

A scene that inspired generations of writers, filmmakers and lovers, XEROX FEROX is the 1st publication to hide the horror movie fanzine and the tradition it spawned. From well-known Monsters of Filmland to Fangoria and every thing in among, XEROX FEROX is far greater than a booklet approximately monster magazines. It examines the home-grown DIY fanzines that dared to dig deeper than the slick and glossy newsstand mags ever could.

Extra resources for The Good, the Bad and the Godawful: 21st-Century Movie Reviews

Example text

Certainly, one will find a great deal of identification of characters and anchorage of locations in the opening minutes of a film, when the dialogue is so casually making up for our lack of an omniscient narrator or a detailed dramatic playbill. But it would be a mistake to think that this function is confined to any one section of the text. Witness, from late in Stagecoach: cu rly: Well, folks, we’re coming into East Ferry now. b u ck: Lordsburg, next stop. Movement through space, flashbacks to previous events, ellipses forward in time, and the introduction of new characters will call for dialogue anchorage.

B u ck: Lordsburg, next stop. Movement through space, flashbacks to previous events, ellipses forward in time, and the introduction of new characters will call for dialogue anchorage. ”9 Dialogue is the tractor the characters use to haul their heavy load. ” to the viewer. The “what next” may be a simple anticipation of a plot development, such as takes place during one of Devlin’s meetings with Alicia in Alfred Hitchcock’s Notorious (1946): d e vl i n: Look. Why don’t you persuade your husband to throw a large shindig so that he can introduce his bride to Rio society, say sometime next week?

When Samuel Gerard (Tommy Lee Jones) and his team arrive at the site of the bus/train wreck in The Fugitive, they are stopped by a uniformed policeman. ge ra rd: co p: ge ra rd: co p: Hi. Who’s in charge? Sheriff Rawlins. Rawlins. Just follow the TV lights. ” Even before we meet Rawlins we know he’s a vainglorious blowhard, more interested in publicity than in doing his job. To stick with this text for a moment: Dr. Richard Kimble (Harrison Ford) is The Fugitive’s central focus. However, being primarily engaged in a solitary flight and investigation, Kimble talks relatively little, so we are forced to judge him by his actions—his courage in saving the injured guard; his resourcefulness in assuming disguises; his intelligence in tracking down the one-armed murderer through the records of the hospital that adjusted his artificial limb.

Download PDF sample

Rated 4.15 of 5 – based on 37 votes