Tag Archives: Andrew O’Hehir

I’m sorry, Andrew, but no.

Neither Obama nor Mitt Romney is foolish enough to compare himself directly to Lincoln, but whichever man is elected on Tuesday faces a political landscape nearly as divided and poisonous as the one confronted by the 16th president.

Just… no.


I don’t know anyone who voted for Pedro

I’m so rarely puzzled or let down by the great Andrew O’Hehir that it depresses me to say that his recent rumination on the question of “Is movie culture dead?” is probably the worst thing of his that I’ve read. In it, he bemoans the death of “film culture in the Susan Sontag sense.” Though he avers that movies are still relevant and talked about, he means film culture in that special way that the rest of us simply call “coastal elitism.” How else do you explain paragraphs like this? (And pay special attention to the last one. Emphasis mine.) Continue reading


Neo talks digital cinema

What’s going to happen to all the digital material that we create? How can it be stored? Because that question really hasn’t been answered. We talk about the democratization of film, the fact that these tools are becoming cheaper, faster and lighter. Anyone can do it now. And I think the filmmakers we talk to have mixed feelings about that: Who’s going to be the tastemaker? Does that mean there will be less good and more bad?

But, yeah, to answer your question — I mean, it’s not as groundbreaking as when film went from silents to talkies. Let’s say that. Or from black-and-white to color. This doesn’t have that feeling of sea change to it. But there are many implications that come out of it. Especially in the early days, there was the question of the quality of the product you’re looking at, the quality of the image. For certain artists whose vision is to make the best possible image, they felt digital wasn’t there.

The above quote is from an interview conducted by Andrew O’Hehir with Keanu Reeves, who has produced a new documentary that I’m quite pumped to see, called Side by Side. In it, Reeves chats with filmmakers about the practical, aesthetic, and philosophical considerations involved in the industry-wide transition from film to digital. The interview has only made me more excited to see the film, because rather than pontificate, Reeves poses question after question, even though the film has been finished. To me, that’s one of the strengths of documentary features: real life doesn’t necessarily conform to tidy narratives or clear answers to hypotheticals. It’s the one form of cinema in which you can get away with telling an ambiguous story with an ambiguous viewpoint, and not have the majority of the audience revolt. Even so, Reeves refers to the stories inherent in the films he likes to make, suggesting that if he does perceive a definite arc to this quest, it’s an arc whose trajectory he is still in the process of charting. Continue reading


The cutting room: Michael Bay and Terrence Malick’s shared sensibility

This last weekend, I finally took the opportunity to see The Tree of Life.  By this point, nearly everyone else with access to both a metropolitan movie theater and the Internet has already commented on this film.  There are already numerous comprehensive, provocative pieces of criticism out there on the film, and in a future post, I may highlight a few of them.  I just wanted to ruminate (or fulminate, perhaps) a bit on Malick’s editing style.  One of the more intriguing criticisms I have read of the film was written by Peter Tonguette:

[A]fter I saw The Tree of Life, I remarked to a friend that the movie didn’t seem to contain any real scenes at all — only fragments of scenes. The film is a series of snapshots, and it’s hard to judge, exactly, what we’re missing in all of the cutting. [...] At times, it felt like I was watching a 138-minute trailer for The Tree of Life. Steven Soderbergh’s 1999 crime film, The Limey, is rarely discussed this days, but there’s a daring sequence in which Peter Fonda’s character, Terry Valentine, is introduced by way of a series of shots of him borrowed from later in the picture. As Soderbergh described it, it’s supposed to be like a trailer for Terry Valentine. That was the point. But this sequence lasts for perhaps 20 seconds, not two hours and 18 minutes. Continue reading


Some thoughts on truth and fraudulence in Christian cinema

Two excellent articles considering an important question — Why do Christian movies suck? — have appeared recently.  The first was written by Salon critic Andrew O’Hehir, while the response was posted on SixSeeds.tv by Timothy Dalrymple.  As with just about everything else in my blog, this is a topic I’d planned to cover at some point, and others beat me to it, so now’s as good a time as any to say my piece.  I need to emphasize before going further that I greatly enjoyed both articles, and there is much I agree with in both.  The wit and insight on display suggests that O’Hehir and Dalrymple would be prime candidates for a televised roundtable.  (Make it happen, people!)  I don’t feel like recapitulating each article, so before you read further, please read both articles so we can bite right into the meat. Continue reading


Follow

Get every new post delivered to your Inbox.

Join 45 other followers

%d bloggers like this: