Movies Matter
  • Blog
  • Glenn Kenny: Made Men
  • In-Theater Reviews
  • Steve Kaplan: Comedy's Necessity
  • Julie Salamon: The Devil's Candy Revisited
  • Jen Grisanti: The Wound That Drives Us
  • Claire Elizabeth Terry: Rocaberti Rockin'
  • Glenn Frankel: High Noon
  • Review Archives
  • Kathie Fong-Yoneda: Still rockin' with Rocaberti et al.
  • Contact & join mailing list!
  • William Linn: Mythosophia
  • Chris Vogler: 25th Anniversary Edition
  • John Badham: On Directing, 2nd Edition
  • Ken Lee: Singin' with Musicals
  • Ben Fritz: The Big Picture
  • Ken Miyamoto: Writing the ScreenCraft
  • Charles Ardai: Are Snakes Necessary?
  • Barry Eisler: All The Devils
  • Dave Watson: Walkabout Undone
  • Seger & Rainey: Great Dialogue
  • Pilar Alessandra: The Coffee Break Screenwriter
  • Greg Loftin: Writing for the Cut
  • Debra Eckerling: Your Goal Guide
  • Marilyn Atlas: Dating Your Character
  • Elaine Shannon: Hunting LeRoux
  • Heather Hale: Story$selling
  • Matthew Kalil: The Three Wells
  • Weiko Lin: Crazy Screenwriting Secrets
  • Books & Movies
  • Jason Starr: Fugitive Red
  • Duane Swierczynski
  • Victor Gischler: No Good Deed
  • Diane Bell: Shoot From The Heart
  • Kathie Fong Yoneda: The Future of Story
  • Deborah Patz: Write! Shoot! Edit!
  • Edwards & Skerbelis: Film Festivals
  • Ken Lee, UFVA
  • Geoff Carter: The P.S. Wars
  • Michael Lucker: Action films
  • Dr. Linda Seger: Script to Screen
  • Diamond & Weissman: Bulletproof Scripts
  • Interview: R.R. Campbell
  • Interview: Kristin Oakley
  • Interview: Rex Owens
  • Interview: Margaret Goss
  • Interview: John Bucher, The Oscars
  • Interview: Pamela Douglas
  • Interview: Scott Von Doviak
  • Interview: David Sonnenschein
  • Interview: Josh Friedman
  • Interview: Mike Olah
  • Interview: Stan Williams
  • Interview: Stephen Galloway
  • Interview: Maureen Ryan
  • Interview: Jon Fitzgerald
  • Interview: Ken Lee
  • The Oscars: Pamela Jaye Smith
  • Interview: Kim Adelman
  • Interview: Jeffrey Michael Bays
  • Pamela Jaye Smith: Romantic Movies
  • Interview: Jennifer Van Sijll
  • Interview: Adam Coplan
  • Interview: Shane Kuhn
  • Interview: Bucher and Casper
  • Interview: Troy Devolld
  • Interview: Simone Bartesaghi
  • Interview: The Shoot Like Series
  • Interview: Judith Weston
  • Interview: Pamela Douglas
  • Interview: Jennifer Dornbush
  • Interview: Peterson & Nicolosi
  • Interview: Sarah Beach
  • Interview: Jen Grisanti
  • Interview: Jacqueline Frost
  • Interview: Christopher Kenworthy
  • Interview: Joe Gilford
  • Interview: Richard Pepperman
  • Interview: Deborah Patz
  • Interview: Sam & Gifford Keen
  • Interview: Paul Chitlik
  • Interview: Christopher Vogler
  • Interview: Marx Pyle
  • Interview: Laurie Scheer
  • Interview: Todd Drezner
  • Interview: Tom Malloy
  • Interview: Brad Schreiber
  • Interview: Marilyn Atlas
  • Interview: Ken Miyamoto
  • Interview: Carole Kirschner
  • Interview: Lee Jessup
  • Interview: Jeffrey Michael Bays
  • Interview: Pamela Jaye Smith
  • Interview: John Schimmel
  • Interview: Christopher Riley
  • Interview: John Badham
  • Interview: John Bucher, The Oscars
  • Interview: Dr. Linda Seger
  • Interview: Pilar Alessandra
  • Interview: Steve Kaplan
  • Barry Eisler: the Killer Collective
  • Interview: Gil Bettman
  • Interview: Richard Dunn
  • Interview: Paul Dudbridge
  • Diamon & Weissman: Family Man

Subscribe!

The Medium

10/27/2019

0 Comments

 
One of the great things about films, and aging, is that one can re-watch a movie more than two decades after seeing it and it feels fresh, anew, and triggers recall probably more than any other medium, at least for this writer and many he knows. Then there's commentary by someone who had a similar experience. Reading Charles Bramesco's article in The Guardian on Oliver Stone's Natural Born Killers, we see his point. If memory serves, the director claimed at the time to "hold up a mirror to society" with the provocative film. It was his most provocative to date, and though the last portion drags, it swirls you up into its hysteria once again.

1994, the year NBK came out, was quite an interesting year for American movies. The mainstream got better, with Forrest Gump, Clear and Present Danger, and True Lies, standing along side Pulp Fiction, Clerks, and The Last Seduction. Moviemaking seemed to be open territory to all who could, and Hollywood directors churned out well-told stories. Looking back twenty-five years later, it appears a romantic time.

Then I see David Fear's article in Rolling Stone on David Fincher's Fight Club after twenty years. 1999 was also a giant year for American movies with American Beauty, the Best Picture winner, showing next to The Insider, Three Kings, Eyes Wide Shut, and Being John Malkovich. Years later I discovered Sharon Waxman's excellent book on what led to that culmination of cinema. So we peel back layers of cinema, and a decade, and a time many still remember, it seems, quite clearly. That is but one of the powers of film's evocation. 
0 Comments



Leave a Reply.

Powered by Create your own unique website with customizable templates.