By the Numbers

Ever since I began writing about film online, I’ve felt compelled to use some sort of visual rating system. Although never a fan of the simplistic “thumbs up” or “thumbs down” of Siskel and Ebert, I felt using a rating out of ten gave me a sort of critical framework for comparing films to each other. But lately, I’ve been questioning the value of such a system. When I see otherwise sane people deciding what film to see based solely on a numerical score (even, or maybe especially, one out of 100!) from Metacritic or Rotten Tomatoes, it disappoints me. And yet, I’ve been rating films this way for years. Well, no more, at least here.

I’ve come to realize that for a variety of reasons, I’m doing a disservice to readers by slapping a number at the bottom of my reviews. For film lovers, it’s too tempting to skip to the rating and not bother to read the analysis and reasoning behind it. And for filmmakers, whose work I’m usually happy to help promote, the number can sink an otherwise well-reasoned review. Filmmakers may be reluctant to link here or even quote from one of my reviews if the number isn’t at least a 9 or a 10. Somehow, that feels unfair to everyone involved.

So, at least for the foreseeable future, the numerical ratings won’t appear here. I still rate everything I see on IMDB, but that’s more for calibrating my own internal critical sense. I don’t see it adding much value here. What do you think? Are numbers and stars and percentage scores and even thumbs useful to anyone other than the most casual of filmgoers?

Special thanks to Flickr user Jez Page for making his photo available under a Creative Commons licence.

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Once Upon a Time in America

Once Upon a Time in America
Warner released Once Upon a Time in America on Blu-ray in Canada on January 11, 2011. Help support Toronto Screen Shots by buying it on Amazon.ca.

Once Upon a Time in America (Director: Sergio Leone): The first and best thing I can say about the new Blu-ray of this classic gangster saga from Warner is that it finally allows the viewer to enjoy the entire 220 minutes without having to change discs in the middle. And the full experience is definitely what you want. Never has a film needed and made better use of the larger canvas afforded by breaking (smashing!) the imaginary two hour barrier some studio executives feel is the upper limit for audience attention. Let me illustrate:

Approximately an hour in, young gangster Patsy (Brian Bloom) climbs the stairs for an assignation with teenaged prostitute Peggy. He’s been told he can exchange a freshly-baked creampuff for sexual favours and as he waits for her, he sits on the staircase while gingerly placing the creampuff next to him. Over the next two full minutes, he sits looking at this delicious treat while waiting for one of a different sort. He picks at the icing and rearranges the wrapping nervously until he finally can’t help himself any longer. He greedily devours the creampuff, and just as he pops the cherry into his mouth, Peggy emerges from her apartment. “Whaddya want?” she demands. “Uh…I’ll come back another time.” I don’t think I’ve ever seen a better portrayal of the fine line between childhood and adulthood, and in a shorter film, this is the sort of scene that would be cut first.

I won’t attempt a full review, but Leone’s tale of Jewish gangsters in New York spans more than 30 years in the lives of pals Noodles (Robert DeNiro) and Max (James Woods). The often-overbearing soundtrack by Ennio Morricone piles on to the already-sentimental direction by Leone, but it’s a good story and some of the images are just fantastic. The film also stars Joe Pesci, Tuesday Weld, Elizabeth McGovern, Treat Wiliams, Burt Young, Danny Aiello and in her first film role, Jennifer Connelly.

Extra features include a commentary by film critic Richard Schickel and an excerpt from the documentary Once Upon a Time: Sergio Leone focusing on the making of the film. It runs about 20 minutes.


oehttp://www.youtube.com/watch?v=j8ZO-UZjN7o

8/10(8/10)

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SXSW Filmmakers, Start Your Engines!

South by Southwest Film Festival

I’m returning to Austin this March for my 11th consecutive South by Southwest and, borrowing an idea from myself, I’ve decided to solicit filmmakers ahead of time. Since I live in Canada, and the postal service can take up to two weeks to deliver a package from the US, I wanted to put out the call as early as possible, even though the official lineup won’t be announced for a few more days. Here’s my standard pitch:

Each of the past three years, I’ve soli­cited film­makers whose work has been accepted to screen at the South by Southwest film fest­ival to send me their films ahead of time, thus improving the chances of me seeing and reviewing them. This year, I’m doing it all over again! So here’s the deal: if you are a film­maker with a film screening at SXSW 2011, and you’d like to gen­erate a bit of cov­erage, get in touch. The reg­ular dis­claimer applies: I have a paying job that often gets in the way of me writing about films, and so I cannot guar­antee that I’ll review your work in a timely fashion. In fact, I can’t guar­antee I’ll review it period. But I’ll do my best, depending on response, etc. Email me at james@ this domain and I’ll let you know my coordin­ates. Oh, and by the way, con­grat­u­la­tions! SXSW is an important fest­ival, Austin is a great town, and you are going to have a blast if you can make it there in person.

Some examples of my pre­vious SXSW film coverage.

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Catfish

Catfish
Alliance released Catfish on DVD in Canada on January 4, 2011. Help support Toronto Screen Shots by buying it on Amazon.ca.

Catfish (Directors: Ariel Schulman and Henry Joost): I finally got see last year’s Sundance sensation and have to say I’m in agreement with the critic from Esquire who called this “the real Facebook movie.” While a film like The Social Network focuses on the creators of the world’s largest social media platform, this film shows how ordinary people are using it, often with just as much ingenuity.

Directors Joost and Schulman are filmmakers from New York City. In fact, they worked on my favourite 2010 film NY Export: Opus Jazz (review). Ariel’s younger brother Yaniv (Nev) is a photographer who took stills for that film, and when one of his photos was published, he received a box a few weeks later. Inside was a painting based on the photo by “Abby,” an 8-year-old artist from Michigan. So began a correspondence which took place through the mail, by telephone, and especially through Facebook, as Nev friended first Abby’s mom Angela and then her 19-year-old half-sister Megan. As the months go by, Nev and Megan develop a serious online crush that is augmented by late-night phone calls and regular texts.

Joost and Schulman begin to document this web of relationships almost from the very beginning. When the trio make a trip to Colorado to make a dance film, Nev invites Angela, Abby and Megan to come out and join them. Although they can’t make it, they maintain constant contact, with Megan even posting songs online that she claims to have written and performed. The first cracks appear in the facade when Nev finds out that the songs have actually been lifted from the YouTube and MySpace pages of other performers. They decide to make an unannounced stop on their way home.

I won’t say any more, except to say that if you’ve been online as long as I have, you won’t be surprised by the outcome. What’s interesting is that these are young, internet-savvy New Yorkers, for crying out loud, and you’d expect them to be a bit more wary. Nevertheless, they have weaved these elements into a pretty gripping film. So much so that more than a few people have accused them of staging or faking some or all of it. I don’t think that’s the case, but I can see how the suspicion might arise.

Catfish is a great story, and a pretty good film, but it’s not that much of a revelation to anyone who has been part of Internet culture before Facebook arrived. People always choose what aspects of themselves they reveal online. When you have a chance to “meet” so many new people, it’s tempting to edit your own story until it can become almost unrecognizable. There’s a reason why there is an online virtual world called “Second Life.” Sometimes you just need to get away from your first one.

The only special feature on the DVD is a 25-minute conversation with the filmmakers in which they answer some common audience questions. Obviously, you don’t want to watch this until after you’ve watched the main feature.


oehttp://www.youtube.com/watch?v=m3EDxgecC14

7/10(7/10)

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French Launch Online Film Festival

UPDATE: I’m disappointed to report that here in Canada, it appears that all of the feature films are region-blocked. While I enjoy shorts, I was looking forward to checking out a few of the features. What really stinks about this is that I suspect the films have distributors in Québec, but none of these films will be released outside of Québec, and I expect that the site is region-blocking the entire country of Canada. Oh well, enjoy the films, rest of the world!

Leave it to the French. Not only do they have one of the most prolific and robust film industries in the world outside of Hollywood, but now they’re innovating again by curating an online festival of recent French films that can be viewed all over the world, subtitled in ten languages. MyFrenchFilmFestival.com is a collaboration between Unifrance and Allocine with the support of several other organizations including Variety.

Between January 14 and 29, viewers will have access to ten features and ten shorts in the competition as well as three out-of-competition features. They’ve assembled an impressive jury of press critics (including one of my favourites, Karina Longworth from LA Weekly) and another made up of international bloggers. Alas, there is no Canadian representation this year, but I’m hoping that if the experiment is successful, they’ll repeat it next year and maybe Canadian critics and bloggers might be considered.

They are charging to watch the films (2 Euros for a feature and 1 Euro for a short), which may limit the festival’s appeal, but they do offer some reasonable package deals: 5 Euros for access to ten shorts 10 Euros for access to 11 features, or 14 Euros to access the entire festival. Check out the festival trailer below as well as the site and their Facebook page and see if any of the programming appeals to you. There are lots of trailers and interviews on the site which can be viewed for free, and they’re even sponsoring a contest for a trip to Paris.

I find it a bit odd that they’re only running this for two weeks, but I suppose they’re trying to create a sense that this an online “event.” So even though this particular French film festival does not take place on the Riviera, you’d better check it out before the 29th or you’ll have to wait until next year.


oehttp://www.youtube.com/watch?v=ow2-D63ytDE
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