The Canyons screenwriter Bret Easton Ellis recently said that, “Using social media as a way to help build a film is really like riding the wave into the future." Well, he’s been riding the Canyons hate tsunami hard on his Twitter, producing his very own meta review by cherry-picking feedback in the process. Check it out, "Generation Wuss," the sum of @breteastonellis’s tweets is the measured and faintly positive Canyons review you knew was out there...somewhere.
“THE NEW YORKER: Richard Brody loves “THE CANYONS”...while David Denby does not...”
“Extremely perceptive review by Justin Chang of THE CANYONS: Why Paul Schrader’s Reviled Thriller Merits a Closer Look...”
“Stephanie Zacharek's positive review of THE CANYONS in The Village Voice gets it: Vital, Messy, and Alive With Regret”
“Another smart take on the hysterical reaction from the press over THE CANYONS in EW by Owen Gleiberman ”
“Smart summing-up of the critical reaction: Exploring the Hellish Depths of THE CANYONS...and Liking It: Adi Tantimedh"
“Apologies if I telegraphed any spoilers. But I think THE CANYONS is about mood and a world and not plot points. The best movies are.”
And our favourite, tweeted straight from the Venice Film Festival, “Lindsay flaked.”
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Lindsay Lohan has been dealt a fresh blow as she prepares to end her rehab stint after her new movie The Canyons was branded "lame" and "dreary" by critics following its premiere in New York on Monday (29Jul13). The erotic thriller, written by American Psycho author Bret Easton Ellis, finally screened at The Film Society of Lincoln Center in Manhattan after it was previously denied slots at a number of film festivals last year (12), with organisers of Texas' South by Southwest (SXSW) rejecting it over "quality issues".
Lohan was unable to attend the red carpet event on Monday night as she is serving out the final few days of a court-ordered rehab sentence in California, but she is unlikely to be cheered by the majority of the movie's reviews.
Todd McCarthy of The Hollywood Reporter brands the film a "lame, one-dimensional and ultimately dreary look at peripheral Hollywood types not worth anyone's time either onscreen or in real life" which is full of "melodramatic cliches" and characters with a "lack of distinct personalities".
The New Yorker's David Denby writes, "Lohan is a real actress, but in this movie she's puffy and overwrought and unfocused, and she weeps a lot.. You're not sure whether she's crying in character, or lamenting her participation in a low-budget movie, or grieving over her own troubles."
Eric Kohn of Indiewire.com singled out Lohan's performance for particular criticism: "Lohan is as bland and unfocused as the material," adding, "Her robotic delivery freezes the possibilities of bona fide tension."
However, Scott Foundas of Variety gave the film a more favourable write-up and even compared Lohan to legendary actor Marlon Brando, writing, "Lohan... gives one of those performances, like Marlon Brando's in Last Tango in Paris, that comes across as some uncanny conflagration of drama and autobiography. Lohan may not go as deep or as far as Brando, but... there's a little-girl-lost quality to the onetime Disney teen princess that's very affecting."
The Variety review touched Lohan, who posted a link to the article and a message of thanks on her Twitter.com page, writing, "Wow... humbled and feeling so much gratitude."
It's that time of year where everyone is making their lists and checking them twice. Not just Santa, but every film critic – from the film editor of the Walla Walla Picayune and Register to the tween who runs ILikeMoviesSoMuchICouldPuke.tumblr.com – who feels the need to express his or her opinions about the Top 10 Movies of 2012. Everyone thinks they have the final word on taste, but so few of them agree with one another. With the entries on these lists landing all over the place, how do we determine what the best flicks are? Well, we ask every damn critic and figure out where they agree. Yes, this is the Ultimate Top 10 Movies of 2012 List comprised only using lists other critics made.
I took 53 different lists from sources as varied as the New York Times to MySpace (yes, they apparently have someone writing for that treasure trove of embarrassing high school pictures we can't figure out how to take down) and tallied them all up. For each list, the top movie got 10 points, the second best movie got nine points, and so on down the line. For wimps who just listed their top movies alphabetically, each film got three points, because I'm not rewarding those jerks who can't make up their minds. All those points were added up, and those with the highest points win! Well, I included everyone, so there aren't any real losers except for those that didn't make the list at all.
Only lists for movies in general were included, so there's no genre fare like the 10 Best Action Movies, the 5 Scariest Horror Movies, or The 11 Best Joseph Gordon-Levitt Movies That Came Out in August. If there were more than 10 movies on any list, movies 10-20 (or 10-33 if you're the slideshow-happy Huffington Post) were ignored. If you can't narrow it down to 10, then you're just doing the world a disservice. And I only included lists that were actually, you know, a list. Yes, David Denby of The New Yorker, I get that you're so much smarter than the rest of us that you can't be bothered to enumerate your enormous insight into the annual state of the cinema, but reading the whole damn article was just not conducive for my little experiment.
Without further ado, here are the Scientifically Indisputable Top 10 Movies of 2012
1. Zero Dark Thirty: 291
2. The Master: 202
3. Argo: 170
4. Amour: 152
5. Beasts of the Southern Wild: 132
6. Lincoln: 156
7. Moonrise Kingdom: 152
8. Silver Linings Playbook: 109
9. Holy Motors: 104
10. The Dark Knight Rises: 74
Most of these weren't surprises. Zero Dark Thirty was on practically every list I surveyed. For every list Amour or Holy Motors wasn't on, it was in the top spot on another list, thus driving these obscurities up the rankings. The only surprise in the Top 10, really, is The Dark Knight Rises, which jumped into the final slot thanks to prominent placement on several lists, including ones that seemed to favor those that were commercially successful rather than the critics' darlings.
The surprises were really in the films that didn't do better. I was shocked that early favorites like The Sessions didn't get more attention, and documentaries like Queen of Versailles or How to Survive a Plague didn't fare better. Many lists filled their final slot with either a documentary or a foreign film to let the reader know how cultured they are and don't just like popcorn munchers. Either that, or it's a kid's movie to show just how wide and varied their idea of quality is, going beyond weird indies that people lie about seeing at cocktail parties. The most popular cartoons were ParaNorman and Frankenweenie. The latter only got a score of nine but it was probably on as many lists as anything else. The 10th spot doesn't do anyone any favors.
Here are the rest of the movies I found on my adventure.
This Is Not a Film: 70
Life of Pi: 71
The Avengers: 63
Django Unchained: 56
Cabin in the Woods: 35
The Lonliest Planet: 35
Les Miz: 33
Perks of Being a Wall Flower: 28
The Deep Blue Sea: 26
Anna Karenina: 25
Once Upon a Time in Anatolia: 22
Killing Them Softly: 21
Searching for Sugar Man: 20
Rust and Bone: 19
21 Jump Street: 18
The Gatekeepers: 17
The Hunger Games: 17
Magic Mike: 17
Oslo, August 31: 17
Seven Psychopaths: 16
The Grey: 15
End of Watch: 14
How to Survive a Plauge: 13
The Imposter: 13
Cloud Atlas: 11
The Kid with a Bike: 11
Pitch Perfect: 11
The Raid: Redemption: 11
The Turin Horse: 11
The Impossible: 10
Killer Joe: 10
The Amazing Spider-Man: 9
The House I Live In: 9
Not Fade Away: 9
Jeff Who Lives at Home: 8
Queen of Versailles: 8
Sound of My Voice: 8
Waiting Room: 8
Your Sister's Sister: 8
Dark Horse: 7
Monsieur Lazhar: 7
Oki's Movie: 7
Room 237: 7
The Twilight Saga: Breaking Dawn Part 2: 7
Marina Abramovic: The Artist is Present: 6
Middle of Nowhere: 6
Miss Bala: 6
Take This Waltz: 6
Ai Wei Wei: 5
The Hobbit: An Unexpected Journey: 4
In the Family: 4
Invisible War: 4
Wreck It Ralph: 4
5 Broken Cameras: 3
Best Exotic Marigold Hotel: 3
The Dust Bowl: 3
Goodbye First Love: 3
It's Such a Wonderful Day: 3
John Carter: 3 (stupid Houston Press)
Safety Not Guaranteed: 3
A Simple Life: 3
The Color Wheel: 2
Keep the Lights On: 2
Neighboring Sounds: 2
West of Memphis: 2
Wuthering Heights: 2
Friends with Kids: 1
Premium Rush: 1
Universal Soldier: Day of Reckoning: 1
Sources (some outlets like AP, New York Times, and EW had more than one list): New York Magazine, LA Times, E! Online, Guardian, Screen Crush, Access Hollywood, Cinema Blend, Time, Village Voice, BuzzFeed, Atlantic Wire, AP, MTV, New Yorker, SF Gate, Brietbart, The Atlantic, Guyism, EW, AV Club, Time Out NY, Film Comment, Arizona Republic, New York Times, Washington Post, Huffington Post, Next Movie, The Movie Minute, NY Post, Slant, HitFix, IndieWire, Total Film, Rolling Stone, AARP, Movieline, San Jose Mercury News, IndieWire, AFI, New Jersey Star Ledger, MySpace, Boston Phoenix, Time Out Chicago: Times Two, Houston Press
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Not to be outdone by The Dark Knight Rises, The Girl With the Dragon Tattoo continued its viral marketing efforts as well today with the discovery of a clip purporting to be from an old episode of the '80s TV news show Hard Copy. The video, which investigates the mystery at the heart of David Fincher's much-anticipated thriller, comes on the heals of a brilliantly executed scheme from earlier in the week in which a "critic" named "David Denby" published an "unauthorized" (and suspiciously positive) advance review of the film, generating all sorts of ersatz controversy. Bravo, Sony marketing wizards!
Check out the mildly NSFW clip:
The Girl With the Dragon Tattoo stars Rooney Mara, Daniel Craig, and Christopher Plummer. It opens December 21, 2011.
Click below for more Rooney Mara photos:
Sony bosses have sent a stern warning to all movie writers and bloggers demanding they don't follow The New Yorker critic David Denby's example and publish reviews of the much-anticipated thriller before a 13 December (11) embargo.
In the missive, they state, "We have punished Denby, and he is a big-deal film critic. Don't think we won't do the same."
The warning note led to an email battle between the film's producer Scott Rudin and The New Yorker's editors, and Fincher has now offered his thoughts on the war of words, insisting, if it was up to him, he wouldn't let critics see him films until the day before release.
In an interview with The Miami Herald, the director says, "As silly as this may all look from the outside - privileged people bickering - I think it's important. Film critics are part of the business of getting movies made. You swim in the same water we swim in. And there is a business to letting people know your movie is coming out. It is not a charity business. It is a business-business.
"(But) if it were up to me, I wouldn't show movies to anybody before they were released. I wouldn't give clips to talk shows. I would do one trailer and three television spots and let the chips fall where they may. That's how far in the other direction I am.
"If I had my way, the New York Film Critics Circle would not have seen this movie and then we would not be in this situation. I would be opening this movie on Wednesday December 21st and I would have three screenings on Tuesday December 20th - and that would be it."
Comic actor Rob Schneider has furiously labeled movie critic Patrick
Goldstein "unfunny" and "pompous" for his attack on his contribution to
The former Saturday Night Live star has taken out a full-page advertisement
in the Hollywood Reporter attacking Goldstein's article on Jan. 26, in
which he blasted movie studios for making lackluster sequels like Deuce
Bigalow: European Gigolo.
His verbal assault mirrors Owen Wilson's recent defense of Starsky & Hutch
co-star Ben Stiller, who was criticized for his "tiresome" screen presence by
New Yorker magazine's David Denby.
Schneider writes of Goldstein, "Most of the world (has) no idea of your
"Maybe you didn't win a Pulitzer Prize because they haven't invented a
category for 'Best Third-Rate, Unfunny Pompous Reporter'.
"I can honestly say that if I sat with your colleagues at a luncheon,
afterwards they'd say, 'You know, that Rob Schneider is a pretty intelligent
guy' ... whereas, if you sat with my colleagues, after lunch, you would just be
beaten beyond recognition."
On gossip website Pagesix.com, Goldstein responds, "I haven't received so
many congratulatory phone calls since Billy Crystal wrote a letter to the
editor comparing me to Roy Cohn."
Article Copyright World Entertainment News Network All Rights Reserved.
Film critics seem to have all the fun, dishing out catchy blurbs and influencing the fate of the latest Hollywood offerings with a tilt of the thumb, while powerless actors, directors and producers have no recourse but to curse them from afar. But today, Hollywood has the last word.
Daily Variety surveyed four dozen filmmakers for their opinions on the nations' top movie reviewers and -- surprise! -- they're pretty darn critical of the critics. So critical, in fact, that almost nobody was willing to let their names be published in the trade newspaper's article, lest they incur the printed wrath of any pundit they decided to diss.
Variety didn't rank the critics from best to worst, nor did it give marks to individual critics for their (perceived) strengths and weaknesses. But the catty comments of those unidentified Hollywood types who took part in the survey revealed that: (a) critics from the print medium (newspapers, magazines) were regarded fairly positively, while (b) blurbmeisters working on TV are, well, not.
According to the survey, the Hollywood players consider Anthony Lane of the New Yorker magazine the doyen of movie writers, thanks to his "film literacy, reliability, verisimilitude and quality of writing." Roger Ebert and Kenneth Turan of the Los Angeles Times were also well respected as being passionate and informed, even if some consider them pompous.
David Denby of the New Yorker and David Ansen of Newsweek also seemed to be generally well regarded; Kevin Thomas, a longtime critic for the Los Angeles Times, meanwhile, "took a drubbing from filmmakers of all ages and disciplines," according to Variety.
But what's really interesting is how much dirt the filmmakers dished about the broadcast critics, ranging from the guys on local newscasts to the network morning news programs to entertainment news shows.
An unidentified Oscar-nominated actor said, "I cannot abide David Sheehan. Gene Shalit's not a dope, but he goes for the gag. And I cannot abide Joel Siegel. I can develop a real hatred for critics as I talk about these people!"
Sheehan is the perennial, I-like-everything critic for KCBS-TV in Los Angeles; Shalit, of course, is a resident of NBC's "Today" show. (Vocabulary lesson for today: "Abide" is synonymous with "tolerate.")
Another missive was fired by a director (also unnamed, natch), who called TV critics "the people who absolutely aggravate me. One guy who's very uneven and goes into ecstasy over mediocre pictures is Joel Siegel (of ABC's "Good Morning America" fame)."
But how reliable is Variety's survey, if no quantitative methodology, at least none that is apparent, was used? Is four dozen people enough of a survey to gauge prevailing Hollywood opinions? How thorough can it be, when it mentions that that Hollywood insiders consider Variety's own chief film critic, Todd McCarthy, to be "the only one contributing something worth listening to" but (tellingly) no mention is made of The Hollywood Reporter's Kirk Honeycutt?