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Posts tagged Frederick Elmes

Master cinematographer, Christopher Doyle, was asked to comment on the way neon lights and lighting have impacted his work. As as part of the online exhibition from Mobile M+ and NEONSIGNS.HK, he revisited some of the locations in which he and Kar-wai Wong filmed some of iconic work:

The films we made at a certain period in the 80’s and 90’s wouldn’t be this way if it wasn’t for the space in which they were made…

Beauty hides in the shadows... Carina Lau Days of Being Wild Kar-wai Wong, 1990 Cinematography | Christopher Doyle

Beauty hides in the shadows…
Carina Lau
Days of Being Wild
Kar-wai Wong, 1990
Cinematography | Christopher Doyle

 

…And our space is a neon space. It’s a light space. It’s a space of energy that is electric. It’s the way people move. It’s the energy of Hong Kong. It’s the excitement of the encounters on the street. And it’s lit by neon, basically. Especially at that time.

 

Surviving in a Neon World Tony Leung Chungking Express Kar-wai Wong, 1994 Cinematography | Christopher Doyle

Surviving in a Neon World
Tony Leung
Chungking Express
Kar-wai Wong, 1994
Cinematography | Christopher Doyle

 

It’s a garish, exuberant possibly empty world if you’re not careful. I think that’s what neon is representing.” — Christopher Doyle, Filming in the Neon World.

For the full film/interview click here:

"Without any warning, she suddenly enters the store. I don't know how long she'll stay." Fallen Angels Kar-Wai Wong, 1998 Cinematography | Christopher Doyle

“Without any warning, she suddenly enters the store. I don’t know how long she’ll stay.”
Fallen Angels
Kar-Wai Wong, 1998
Cinematography | Christopher Doyle

Doyle’s work for Kar-wai Wong is some of the best cinematography one can ever expect to see. As he explains, it is exuberant — It is also erotic, unique, sensual, dangerous, disorienting and staggeringly beautiful. The shot posted above takes place in a space few of us would want to actually spend time. Much of Fallen Angels seems dirty and possibly even sinister, but eyes do not want to part with the visuals Doyle has captured. Less than a year later he would make his debut as a feature filmmaker. Away With Words featured one of Japan’s hottest  actors, Tadanobu Asano, and an impossibly cool use of music. Most importantly, it was visually amazing. The images of Away With Words imprinted on my brain. Sadly Doyle’s movie was never lucky enough to receive adequate distribution. But for those of us who did see it — the movie lives on.

The criminally neglected and forgotten... Tadanobu Asano Away With Words / San tiao ran Christopher Doyle, 1999

The criminally neglected and forgotten…
Tadanobu Asano
Away With Words / San tiao ran
Christopher Doyle, 1999

The world contained within Away With Words is magically infused with neon light. The movie actually seems to radiate much of the time. This film can still be found via DVD, though it has never received a proper transfer. It is still worth seeing. It is also almost impossible to find any screenshots that do it justice. I must disclose that Christopher Doyle is my favorite cinematographer. For me to write this is a big deal. I love cinematography and there are many artists I admire — but it is usually hard for me to pick out one artist above all others. I do not have this problem when it comes to cinematography. No one shoots a film like Mr. Doyle.

"Turns out that lonely people are all the same." Leslie Cheung and Tony Leung Happy Together Kar-wai Wong, 1997 Cinematography | Christopher Doyle

“Turns out that lonely people are all the same.”
Leslie Cheung and Tony Leung
Happy Together
Kar-wai Wong, 1997
Cinematography | Christopher Doyle

The use of neon lighting for film has been going on for some time. It’s seem obvious that lighting is as key to a movie as editing, but it is far more complex than simply providing enough light to capture an image. Lighting allows the filmmaker and cinematographer to not only guide but to literally shape a film’s meaning. Cinematography incorporates all essential elements to form the essence of a movie. When one thinks of neon lighting for film, it would seem it best for creating either a sterile environment or a world of shadows with the intention of menace or horror. But the use of neon lighting is almost limitless in what it can convey. It all depends on how well the cinematographer understands lighting, is able to collaborate with lighting technicians and how creative he/she is in bringing a personal vision that highlights the essential one belonging to the film’s director.

Gallo horror has never been more beautiful or surreal. This is the perfect example of a great cinematographer. Jessica Harper suspects witchery. Suspiria Dario Argento, 1977 Cinematography | Luciano Tovoli

Gallo horror has never been more beautiful or surreal. This is the perfect example of a great cinematographer.
Jessica Harper suspects witchery.
Suspiria
Dario Argento, 1977
Cinematography | Luciano Tovoli

Argento’s Suspiria is a neon lit nightmare. Luciano Tovoli’s camera gives the gratuitous violence and paranormal horrors a sinister sort of beauty without getting in Argento’s way. The cinematographer works for the director, but he/she can bring forth magic that the director is often only able to imagine.

In a passive chronological order, take a look at the following shots that incorporate The Neon World into the frames and meanings of the respective films.

"How much?" American Gigolo Paul Schrader, 1980 Cinematography | John Bailey

“How much?”
American Gigolo
Paul Schrader, 1980
Cinematography | John Bailey

Bailey’s use of neon reds and blacks is the perfect concept for dark eroticism and ever-present danger and paranoia.

Neo-Noir / Neon-Noir meets The Beautiful / The Dangerous Rutger Hauer Blade Runner Ridley Scott, 1982 Cinematography | Jordan Cronenweth

Neo-Noir / Neon-Noir meets The Beautiful / The Dangerous
Rutger Hauer
Blade Runner
Ridley Scott, 1982
Cinematography | Jordan Cronenweth

I was too young when I first saw Blade Runner to be able to own the language of film, but when I noticed it was referred to as “Neo-Noir” I do remember thinking “Neon-Noir” seemed more sensical. A few years later I would begin to make the connection. I still like the term “Neon Noir” even if it isn’t real.

"This is not a marketplace." Thief Michael Mann, 1981 Cinematography | Donald E. Thorin

“This is not a marketplace.”
Thief
Michael Mann, 1981
Cinematography | Donald E. Thorin

Michael Mann had great luck bringing the neon world to Thief, but the same can’t be said for One From The Heart. Even still, it is a beautiful looking mess of a movie.

Suppose you had Tom Waits create an amazing score and perfected visuals to a neon-infused glow -- and nobody came to see it? Nastassja Kinski glowing... One From The Heart Francis Ford Coppola, 1982 Cinematography | Vittorio Storaro / Ronald Víctor García

Suppose you had Tom Waits create an amazing score and perfected visuals to a neon-infused glow — and nobody came to see it?
Nastassja Kinski glowing…
One From The Heart
Francis Ford Coppola, 1982
Cinematography | Vittorio Storaro /
Ronald Víctor García

Tony Scott’s The Hunger is seamlessly beautiful — the film’s opening moments/credits are unforgettable and immediately set the stage. Shadowed, cool, stylish and throbbing with electricity and hyper eroticism — this world is beguiling, but we all know that Bela Lugosi’s Dead.

"Nothing human loves forever..." Peter Murphy The Hunger Tony Scott, 1983 Cinematography | Stephen Goldblatt

“Nothing human loves forever…”
Peter Murphy
The Hunger
Tony Scott, 1983
Cinematography | Stephen Goldblatt

Ken Russell may have not had a big budget, but he understood how he exactly how he wanted to capture China Blue’s surreal world of fantasy, cheap thrills and escape.  Dick Bush was a master, but it was usually his director’s who pushed him forward. And he never failed them.

Welcome to the Neon Surrealism of Ms. China Blue... Kathleen Turner Ken Russell, 1984 Cinematography | Dick Bush

Welcome to the Neon Surrealism of Ms. China Blue…
Kathleen Turner
Ken Russell, 1984
Cinematography | Dick Bush

Wim Wender’s Paris Texas seems an odd fit for utilizing the idea of a Neon-drenched world, but Robby Muller brings the idea to glorious use more than a couple of times within Wender’s concept.

There is distinct beauty and sadness in every shot... Paris Texas Wim Wenders, 1984 Cinematography | Robby Muller

There is distinct beauty and sadness in every shot…
Paris Texas
Wim Wenders, 1984
Cinematography | Robby Muller

David Lynch’s collaborations with the great Frederick Elmes never fail to seduce, hypnotize and repulse. Blue Velvet is a classic example of Neo-Noir …and Neon-Noir Surrealism.

This is not your grandparents Film Noir... Isabella Rossellini Blue Velvet David Lynch, 1986 Cinematography | Frederick Elmes

This is not your grandparents Film Noir…
Isabella Rossellini
Blue Velvet
David Lynch, 1986
Cinematography | Frederick Elmes

Finding the image from Paul Verhoeven’s Basic Instinct was not as easy as I had expected. Most remember this film for Sharon Stone’s brave and no-hold-barred performance (and flash!) but I always think of that amazing scene where the detective enters a raving dance club to find his Femme Fatale. This is not a good example of the way Jan de Bont was able to capture the electric energy of this nightclub, but you can get the general idea. It was too masterful to leave out.

Forgive the poor quality image, but lighting intensity adds to the protagonist's adrenaline rush as he navigates a San Francisco night club. Basic Instinct Paul Verhoeven, 1992 Cinematography | Jan de Bont

Forgive the poor quality image, but lighting intensity adds to the protagonist’s adrenaline rush as he navigates a San Francisco night club.
Basic Instinct
Paul Verhoeven, 1992
Cinematography | Jan de Bont

Michael Mann had already established a magical sort of neon energy for the protagonist of Thief, but he found new ways to utilize it for the visually dazzling, HEAT.

A familiar story is captured in brilliant moments of light, shadow, form and reflection. HEAT Michael Mann, 1995 Cinematography | Dante Spinotti

A familiar story is captured in brilliant moments of light, shadow, form and reflection.
HEAT
Michael Mann, 1995
Cinematography | Dante Spinotti

Terry Gilliam and Nicola Pecorini bring neon, chaos, paranoia and delirium to Las Vegas of the late 1960’s.

The neon glow of Vegas seeps into the hotel rooms, desert and a drug fueled mind. Fear and Loathing in Las Vegas Terry Gilliam, 1998 Cinematography | Nicola Pecorini

The neon glow of Vegas seeps into the hotel rooms, desert and a drug fueled mind.
Fear and Loathing in Las Vegas
Terry Gilliam, 1998
Cinematography | Nicola Pecorini

Skipping ahead a few years and even Jason Statham gets the neon touch…

"Now I go back to the street and disappear." This spaces of this Neon World threaten with lighted colors. Jason Statham Steven Knight, 2013 Cinematography | Chris Menges

“Now I go back to the street and disappear.”
This spaces of this Neon World threaten with lighted colors.
Jason Statham
Steven Knight, 2013
Cinematography | Chris Menges

Yorick Le Saux adds a whole new context of meaning to Jim Jarmusch’s already cool vampiric world…

Love, Marriage and devotion in a world of neon light. Tilda Swinton and Tom Hiddleston  Only Lovers Left Alive Jim Jarmusch, 2013 Cinematography | Yorick Le Saux

Love, Marriage and devotion in a world of neon light.
Tilda Swinton and Tom Hiddleston
Only Lovers Left Alive
Jim Jarmusch, 2013
Cinematography | Yorick Le Saux

Just as one should never attempt to mention neon lighting in film without a discussion of Christoper Doyle’s masterful work — it would be tragic to not highlight Benoit Debie’s cinematography. Harmony Korine has always been astute regarding his cinematic visions, but Debie brings a hue to Spring Breakers that only he could create.

Teen rebellion and rape culture are satirized in a fusion of neon and electrified dub-steps... Spring Breakers Harmony Korine, 2012 Cinematography | Benoit Debie

Teen rebellion and rape culture are satirized in a fusion of neon and electrified dub-steps…
Spring Breakers
Harmony Korine, 2012
Cinematography | Benoit Debie

The critics may have dismissed Ryan Gosling feature film directorial debut, but I still contend they were wrong. If nothing else, Benoit Debie added neon drenched meanings, mystery and surreal horrors forward in Lost River. The film is not perfect, but it arches forward in simultaneously borrowed but eccentric uniqueness. In its own way, Lost River, if almost brilliant. This is no one’s standard coming of age movie.

"Live" Adult Entertainment takes a very glowing dark turn... Eva Mendes Lost River Ryan Gosling, 2014 Cinematography | Benoit Debie

“Live” Adult Entertainment takes a very glowing dark turn…
Eva Mendes
Lost River
Ryan Gosling, 2014
Cinematography | Benoit Debie

Just as Christopher Doyle will forever be linked with Kar-wai Wong — so will Benoit Debie with Gaspar Noe. It is a supreme compliment to both directors that they have been able to collaborate so beautifully with two distinctly brilliant cinematographers. While all four are linked respectively together — Wong and Noe have never been hesitant to share the credit for the power of the fieldwork.

Strong case in point, Noe actually shares cinematography credit with Debie for Irreversible. It says a great deal that I am never sure who is behind the camera in this deeply disturbing film. Irreversible is a remarkable work of cinematic art, but it is almost as problematic. One thing is most certain, the quality of the camerawork and use of lighting can only be praised. Even if you have opted to not put yourself through the inhumane horrors of this film — I suspect you will recognize this image.

Neon lighting radiates sinister energy as Monica Bellucci leads the camera to one of the most disturbing and controversial scenes of sexual violence ever put to film... Irreversible Gaspar Noe, 2002 Cinematography | Benoit Debie

Neon lighting radiates sinister energy as Monica Bellucci leads the camera to one of the most disturbing and controversial scenes of sexual violence ever put to film…
Irreversible
Gaspar Noe, 2002
Cinematography | Benoit Debie

And when it comes to the power of neon lighting within the context of filmmaking, one would be hard pressed to think of a better example than Gaspar Noe’s Enter The Void. Intentionally a trip of a film experience, Benoit Debie’s mark is ever-present.

"It's fucking cold." ENTER THE VOID Gaspar Noe, 2009 Cinematography | Benoit Debie | Cinematography

“It’s fucking cold.”
ENTER THE VOID
Gaspar Noe, 2009
Cinematography | Benoit Debie | Cinematography

 

"I can't believe this is real." ENTER THE VOID Gaspar Noe, 2009 Cinematography | Benoit Debie

“I can’t believe this is real.”
ENTER THE VOID
Gaspar Noe, 2009
Cinematography | Benoit Debie

And while Love may not be much of a movie, it is often amazing to watch for visuals alone. Once again, Debie infuses neon light throughout.

The Neon replaces the passion and thrills of romance and sexual release... Karl Glusman and Aomi Muyock Love Gaspar Noe, 2015 Cinematography | Benoit Debie

The Neon replaces the passion and thrills of romance and sexual release…
Karl Glusman and Aomi Muyock
Love
Gaspar Noe, 2015
Cinematography | Benoit Debie

And if there is one director who has spent a career studying and utilizing neon for filmmaking it would be Nicolas Winding Refn. Even under the constraint of a limited budget, his focus was on capturing the energy, insanity and terror of the drug underworld via lighting. The Pusher Trilogy shows what a skilled artist can do with very little.

Burning the image to neon is not new to Mr. Refn PUSHER Mads Mikkelsen Nicolas Winding Refn, 1996 Cinematography | Morten Soborg

Burning the image to neon is not new to Mr. Refn
PUSHER
Mads Mikkelsen
Nicolas Winding Refn, 1996
Cinematography | Morten Soborg

The film itself may be flawed, but Fear X is of note because it marks the first collaboration between Refn and Larry Smith. Paranoia, fear, rage, mystery and horror benefit from a very neon-ed space.

Accidental Death or murder? These spaces offer menacing paranoia. John Turturro Fear X Nicolas Winding Refn, 2003 Cinematography | Larry Smith

Accidental Death or murder? These spaces offer menacing paranoia.
John Turturro
Fear X
Nicolas Winding Refn, 2003
Cinematography | Larry Smith

2008’s Bronson is a cinematic marvel on more than a few counts — one of them is the way in which Larry Smith pushes neon to the limits to merge reality with the fantasy of Surrealism.

 

Realism, Surrealism, Desire, Isolation and fantasies bleed to form a life trapped in a neon-glow. Tom Hardy BRONSON Nicolas Winding Refn, 2008 Cinematography | Larry Smith

Realism, Surrealism, Desire, Isolation and fantasies bleed to form a life trapped in a neon-glow.
Tom Hardy
BRONSON
Nicolas Winding Refn, 2008
Cinematography | Larry Smith

Nicolas Winding Refn and Larry Smith use Drive to serve as the perfect synthesis of their shared vision. It is all about style and manipulation of light.

"Is he a bad guy?" Drive Nicolas Winding Refn, 2011 Cinematography | Newton Thomas Sigel

“Is he a bad guy?”
Drive
Nicolas Winding Refn, 2011
Cinematography | Newton Thomas Sigel

The envelope got pushed off the table and then blown toward the door for their next collaborative effort, Only God Forgives. While it is not a perfect movie, it is certainly not the flop that so many critics wanted us to believe. Only God Forgives is a metaphorical nightmare that often looks more animated than real. Odd and completely unforgettable — another exorcise in style and manipulation.

"Time to meet The Devil." Bathed in Neon, Kristin Scott Thomas isn't worried. Nicolas Winding Rein, 2013 Cinematography | Larry Smith

“Time to meet The Devil.”
Bathed in Neon, Kristin Scott Thomas isn’t worried.
Nicolas Winding Refn, 2013
Cinematography | Larry Smith

Sadly Larry Smith was not involved in Mr. Refn’s next experiment, but it is unlikely that Refn would have budged even the slightest. The title says it all. The Neon Demon is a cinematic error. This time Refn didn’t even bother to push the envelope. He simply refused to acknowledge that an envelope existed. Beautiful, seductive, twisted and so cool it is almost frozen  — The Neon Demon stands indignant and absolutely lost in the garishness of its own neon glow.

And, cue the tipping point... The Neon Demon Elle Fanning Nicolas Winding Refn, 2016 Cinematography | Natasha Braier

And, cue the tipping point…
The Neon Demon
Elle Fanning
Nicolas Winding Refn, 2016
Cinematography | Natasha Braier

Jenna Malone is the only actor who manages to walk away unscathed. Of course this Demon is so very neon, we sometimes can hardly see her.

Neon lighting so deep we can barely see it. This might be a good thing. Jenna Malone is full of beauty... The Neon Demon Nicolas Winding Refn, 2016 Cinematography | Natasha Braier

Neon lighting so deep we can barely see it. This might be a good thing.
Jenna Malone is full of beauty…
The Neon Demon
Nicolas Winding Refn, 2016
Cinematography | Natasha Braier

It may not work, but Natasha Braier is certainly up for the challenges her director presents.

The Neon Demon Nicolas Winding Refn, 2016 Cinematography | Natasha Braier

The Neon Demon
Nicolas Winding Refn, 2016
Cinematography | Natasha Braier

Matty Stanfield, 9.20.2016

 

 

 

 

Starting as an odd Midnight Movie, David Lynch's debut feature film is now considered a work of cinematic art. Eraserhead David Lynch, 1977

Starting as an odd Midnight Movie, David Lynch’s debut feature film is now considered a work of cinematic art.
Eraserhead
David Lynch, 1977

It’s been building for almost 15 years now, but many of the cinematic treasures buried under the title of Cult Film are currently being re-examined and re-evaluated. There are still plenty of cinephiles who shudder as classics like Valley of the Dolls, Beyond the Valley of the Dolls, One-Eyed Jacks and Carnival of Souls are taking their deserved seats within The Criterion Collection.

As my generation moves toward half century mark, the younger generations of movie lovers are feeling less self-conscious when it comes to fully owning their love of Cult Films that have never quite fit into the restrictively defined Cinematic Masterpiece.

I’ve never worried much about what people think of me. As a teenager I would often snare unsuspecting friends into watching a VHS copy of a movie I deemed as essential. I remember some of my pals squirming through a movie like John Waters’ Multiple Maniacs or Herk Harvey’s Carnival of Souls. I myself placed in a defensive position. I would attempt to list the cinematic virtues of a numerous cinematic oddities that had been relegated to midnight screenings and discarded as Odd, Smut and ultimately Cult Films. I began to formulate excuses for these movies I loved. These were offered up as self-defenses to shield my ego from the those harbingers of The Cinematic Elite.

  • This movie is so bad it comes around to exceptional
  • A movie we must love to hate
  • There is a certain level of artistry to create a film so entertainingly bad
  • It’s fun to watch
  • It is one of my guilty pleasures

The opinion regarding Cult Films has come a long way since I was in high school. I was the only one who had ever rented All Star Video’s VHS copy of David Lynch’s Eraserhead. In fact, I rented it a lot.

Filmed on a shoe string and with a desire to haunt vs. scare -- This strange B Movie is now a treasured member of The Criterion Collection. Carnival of Souls Herk Harvey, 1962

Filmed on a shoe string and with a desire to haunt vs. scare — This strange B Movie is now a treasured member of The Criterion Collection.
Carnival of Souls
Herk Harvey, 1962

There was a period of time when I would enter All Star and the lady behind the counter would say, “Look y’all! It’s that kid who rents Eraserhead!” Turns out they had acquired the tape by accident. Some of my friends enjoyed some of what they saw in David Lynch’s surreal movie, but more than a few were bored or disgusted. Some of my pals discovered that it was a great movie with which to get stoned. Gradually a few others began to rent All Star’s VHS copy. In less than a decade Eraserhead would finally begin to garnish the respect it deserved. It would take a whole lot longer for Carnival of Souls to gain appropriate recognition, but this year it was remastered and issued as a member of The Criterion Collection.

After I had finally begun to find a place within the ranks of a respected Film Festival my knowledge and love of French and Asian cinema would be put to some good use, but even as we entered the 21st Century there was still passive annoyance at films that dared to color outside the lines of societal ideas of Cinematic Art.

"Love really hurts... Koroshiya 1 / Ichi The Killer Takashi Miike, 2001

“Love really hurts…
Koroshiya 1 / Ichi The Killer
Takashi Miike, 2001

I first saw Takashi Miike’s Ichi The Killer at a limited screening not too long after the tragedies of 9/11. It took me several minutes to ground myself back into the real world as I stumbled out of the theatre. I found it difficult to articulate what it was that so strongly appealed regarding this sick and twisted movie. In many ways it was a cartoonish orgy of gore that never let up. The special effects were not so much realistic as they were insanely creative. The film was far more interested in following a sadistic and comically twisted thug following Ichi‘s bloody trail of violence than in Ichi himself. Each passing scene seemed to propel the audience into higher levels of audacity and shock. This was a needless exercise in the excesses of violence and aberrantly cruel behaviors. But all of it was presented in such silly and innovative ways, it was almost impossible not to watch.

Surveying the carnage Tadanobu Asano Ichi The Killer Takashi Miike, 2001 Cinematography | Hideo Yamamoto

Surveying the carnage
Tadanobu Asano
Ichi The Killer
Takashi Miike, 2001
Cinematography | Hideo Yamamoto

I was not new to the over-the-top genre of Japanese Shock Horror movies, but this was something a great deal different. I had already been caught in Miike’s web the year before. His 1999 Cult Film, Audition, was in many ways a far superior film. It had been a surrealist take on a widowed man’s sexual fears. The gore utilized in Audition was far more realistic in look and the film’s exploration into self-hate, human cruelty and misogyny was a bit more than the average viewer would ever be able to approve. It was a smart and exceptionally well crafted movie that would only ever have a limited audience. Ichi The Killer was not nearly so dire. Ichi took no prisoners, but it also allowed the audience a “pass” regarding its violent nature.

"Everything I'm about to tell you is a joke..." This young Yakuza soldier is having a strange day that quickly morphs into levels of strangeness too odd to be explained. There is genius here. Hideki Sone GOZU Takashi Miike, 2003 Cinematography | Kazunari Tanaka

“Everything I’m about to tell you is a joke…”
This young Yakuza soldier is having a strange day that quickly morphs into levels of strangeness too odd to be explained. There is genius here.
Hideki Sone
GOZU
Takashi Miike, 2003
Cinematography | Kazunari Tanaka

From my perspective, both Audition and Ichi The Killer were destined for consideration as films of note. But if I had to place my bet, I’d venture that it would be Ichi The Killer that would manage to achieve mutually agreed regard. Interestingly it would be Audition that was the first to be recognized as something more than simply Cult. But the time of Ichi The Killer will soon arrive. Let’s hope that Ichi is ready for the validation. He is kind of sensitive.

Two years after I saw Ichi The Killer in a cinema, I pitched the idea of having the film festival host a retrospective of Miike’s work. I had put out “feelers” and his camp was more than willing and the director was open to attending. He did not speak English, but he had someone who could join him as his translator. In addition, his 2003 film, GOZU had only enjoyed one US screening at this point. I had been lucky enough to receive a promotional copy of that film. GOZU is an experiment into Yakuza thriller gone the way of Lynchian fever dream. GOZU is artistic, comical, beyond strange and unforgettable. I was excited as I pitched the idea to the committee. Only one of the ten members shared in my enthusiasm. My idea was nixed. GOZU and Miike went to Chicago.

Wagner drugs and then literally saps Franz Liszt of his blood. Paul Nicholas and Roger Daltrey LISZTOMANIA Ken Russell, 1975 Cinematography | Peter Suschitzky

Wagner drugs and then literally saps Franz Liszt of his blood.
Paul Nicholas and Roger Daltrey
LISZTOMANIA
Ken Russell, 1975
Cinematography | Peter Suschitzky

My pleas for the committee to consider Ken Russell’s The Devils and Lisztomania fell prey to closed minds and snobbery. Appreciation for Ken Russell’s brilliant The Devils has existed since the film’s debut through to today. The problem is that many have never had the amazing opportunity to see this important film in Russell’s original cut. Warner Bros. continues to hold that film hostage thanks to the powers of The Vatican. It is the only reason that seems to explain Warner Bros. refusal to relinquish the movie. It continues to sit in exile within the confines of the Warner Bros. vault. Although not blessed with the masterful artistry of The Devils, Ken Russell’s surreal comic book take on Franz Liszt is also due for reconsideration. Rumors continue to fly about regarding the resurgence of both films. Back in my teen years I was constantly pimping Ken Russell to the unconverted. It is impossible to understand, but it has only been in the last decade that Ken Russell’s brilliance has begun to receive the recognition that so very many knew it and he was due. And the rally call for both of these films — most especially for The Devils — is growing stronger.

"Satan is ever ready to seduce us with sensual delights." Vanessa Redgrave The Devils Ken Russell, 1971 Cinematography | David Watkin Production Design | Derek Jarman

“Satan is ever ready to seduce us with sensual delights.”
Vanessa Redgrave
The Devils
Ken Russell, 1971
Cinematography | David Watkin
Production Design | Derek Jarman

A couple of years ago I got into a disagreement with someone of “standing” within the world of Film Restoration. A seminal film was at stake. Was this beloved and profoundly odd but brilliant film damned to be restored by a well-intentioned but tech limited distribution company? As it became clear that my opinion meant nothing to this individual who is actually a bigger Film Snob than me — and that is saying something — I took one more consideration regarding concerns of bombast, overly silly presentation, perverse articulation and Grindhouse residue. I ended the conversation with the following sentence:

I will watch Citizen Kane, The Bicycle Thief, The Godfather or Casablanca as often as I watch this film.

As it turned out, this almost forgotten cinematic gem was restored brilliantly by the great team at Vinegar Syndrome. One of my favorite movies, The Telephone Book, was restored and re-issued to an unsuspecting public. Sadly their efforts did not result in many sales.

Just because it is X-rated and full-on odd does not mean that it isn't a valid artistic experience. The Telephone Book Nelson Lyon, 1971

Just because it is X-rated and full-on odd does not mean that it isn’t a valid artistic experience. The Telephone Book Nelson Lyon, 1971

This type of discussion became a sort of staple of my Movie Lover’s Life. It was also a discussion I was nearly always bound to lose. But something is in the air. I’d like to think it partially thanks to my generation, but it is equally indebted to the generation that arrived just after mine. There are a number of people now in their mid-to-late 30’s who recognize the importance of many films that cause life threatening eye-rolling by most serious cinematic scholars born before 1972.

Before she became An Unmarried Woman and deservedly respected actor, Jill Clayburgh was a valuable featured player in an experimental movie mistakenly considered pornography. Jill Clayburgh The Telephone Book Nelson Lyon, 1971 Cinematography | Leon Perera

Before she became An Unmarried Woman and deservedly respected actor, Jill Clayburgh was a valuable featured player in an experimental movie mistakenly considered pornography.
Jill Clayburgh
The Telephone Book
Nelson Lyon, 1971
Cinematography | Leon Perera

Another highly valuable movie that had been thought long lost is Jean-Jacques Beineix’s The Moon in the Gutter. A neon-drenched world awaits the viewer who allows themselves to slip into this strange film. While it is most certainly flawed, it is equally most certainly fascinating. Cinema Libre Studio restored and reissued the film to DVD/Blu-Ray in 2011.

Largely panned when it debuted in cinemas,  Jean-Jacques Beineix's 1983 flop continues to be re-evaluated.  The Moon in the Gutter / La lune dans le caniveau Jean-Jacques Beineix, 1983

Largely panned when it debuted in cinemas, Jean-Jacques Beineix’s 1983 flop continues to be re-evaluated.
The Moon in the Gutter / La lune dans le caniveau
Jean-Jacques Beineix, 1983

They also did the same for Jean-Jacques Beineix’s infamous Betty Blue, but opted to issue only the theatrical version of that film. Sales for Betty Blue were strong, but The Moon in the Gutter is no longer in print. Seek it out.  Meanwhile the director’s cut of Betty Blue is out there and will most likely be re-issued soon. Which paves the way for a restoration of that director’s successful but largely forgotten art film, Diva. An unforgettable hybrid film that is experimental to say the least. We are likely to see this film receive an upgrade within the next year or so.

"Her voice was his calling." Diva Jean-Jacques Beineix, 1981

“Her voice was his calling.”
Diva
Jean-Jacques Beineix, 1981

It had been a fairly tight secret when The Criterion Collection decided to pursue the distribution rights for both The Valley of the Dolls and its dirty little sister, Beyond the Valley of the Dolls. The announcement created a bit of grumbling, but many are thrilled to finally see these two cultural relics restored.

 

"This is my happening and it freaks me out!" Long maligned but deeply loved by a whole lot more -- Russ Meyer and Roger Eberts' 1970 X-Rated film has also joined the ranks of The Criterion Collection. Beyond the Valley of the Dolls Russ Meyer, 1970

“This is my happening and it freaks me out!”
Long maligned but deeply loved by a whole lot more — Russ Meyer and Roger Eberts’ 1970 X-Rated film has also joined the ranks of The Criterion Collection.
Beyond the Valley of the Dolls
Russ Meyer, 1970

Kino Lober and Olive Films have also been doing a great job of rescuing lost or forgotten cult films. This month KL released Otto Preminger’s all but forgotten Cult Film, Tell Me That You Love Me, Junie Moon Junie Moon. Olive Films has just released three other treasured Cult Films, Wild In the Streets, Whoever Slew Auntie Roo? and Modesty Blaise.

"You said she was going to eat us." Strange and surprisingly effective... Whoever Slew Auntie Roo? Curtis Harrington, 1972

“You said she was going to eat us.”
Strange and surprisingly effective…
Whoever Slew Auntie Roo?
Curtis Harrington , 1972

Get ready. Here are but a few other films up for reconsideration beyond the realm of The Cult Film

"Eventually stars burn out..." This 2014 was far too quickly dismissed and ignored. This is a Cult Film that is destined for later appreciation and re-evaluation. Map to the Stars David Cronenberg, 2014

“Eventually stars burn out…”
This 2014 was far too quickly dismissed and ignored. This is a Cult Film that is destined for later appreciation and re-evaluation.
Map to the Stars
David Cronenberg, 2014

 

"Why don't rapists eat at T.G.I. Friday's? Well, it's hard to rape with a stomachache." The jokes induce squirms vs. laughs as the comic's ego deconstructs. Gregg Turkington ENTERTAINMENT Rick Alverson, 2014 Cinematography | Lorenzo Hagerman

“Why don’t rapists eat at T.G.I. Friday’s? Well, it’s hard to rape with a stomachache.”
The jokes induce squirms vs. laughs as the comic’s ego deconstructs.
Gregg Turkington
ENTERTAINMENT
Rick Alverson, 2014
Cinematography | Lorenzo Hagerman

 

"Gilderoy, this is going to be a fantastic film. Brutal and honest. Nobody has seen this horror before." Berberian Sound Studio Peter Strickland, 2012 Cinematography | Nicholas D. Knowland

“Gilderoy, this is going to be a fantastic film. Brutal and honest. Nobody has seen this horror before.”
Berberian Sound Studio
Peter Strickland, 2012
Cinematography | Nicholas D. Knowland

 

" Everything is more complicated than you think..." Coming up close to a decade -- is the audience ready to revisit Charlie Kaufman's ever undulating surreal epic? Philip Seymour Hoffman Synecdoche, New York Charlie Kaufman, 2008 Cinematography | Frederick Elmes

” Everything is more complicated than you think…”
Coming up close to a decade — is the audience ready to revisit Charlie Kaufman’s ever undulating surreal epic?
Philip Seymour Hoffman
Synecdoche, New York
Charlie Kaufman, 2008
Cinematography | Frederick Elmes

The film I am most excited about is John Schlesinger’s strange and surreal forgotten bit of dark magic, The Day of the Locust. The Hollywood Dream is reduced to absolute metaphorical nightmare. It also features some of Conrad L. Hall’s best cinematography work.

"Good evening ladies and gentlemen in radioland. We're speaking to you from the forecourt of Grumman's Chinese Theater here in Hollywood, California..." John Schlesinger, 1975

“Good evening ladies and gentlemen in radioland. We’re speaking to you from the forecourt of Grumman’s Chinese Theater here in Hollywood, California…”
John Schlesinger, 1975

And, of course, Takashi Miike’s odd trip into Surrealism — GOZU.

"There's no need to hide something as fine and dandy as that!" GOZU Takashi Miike, 2003 Cinematography | Kazunari Tanaka

“There’s no need to hide something as fine and dandy as that!”
GOZU
Takashi Miike, 2003
Cinematography | Kazunari Tanaka

Matty Stanfield, 8.16.2016

"This is a story that happened yesterday. But I know it's tomorrow." INLAND EMPIRE David Lynch, 2006

“This is a story that happened yesterday. But I know it’s tomorrow.”
INLAND EMPIRE
David Lynch, 2006

Wild At Heart Diane Ladd David Lynch, 1990 Cinematography | Frederick Elmes

Wild At Heart
Diane Ladd
David Lynch, 1990
Cinematography | Frederick Elmes

Wild At Heart Nicolas Cage David Lynch, 1990 Cinematography | Frederick Elmes

Wild At Heart
Nicolas Cage
David Lynch, 1990
Cinematography | Frederick Elmes

"This whole world's wild at heart and weird on top." Wild At Heart David Lynch, 1990 Cinematography | Frederick Elmes

“This whole world’s wild at heart and weird on top.”
Wild At Heart
David Lynch, 1990
Cinematography | Frederick Elmes

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I love imdb.com and RottenTomatoes as much as anyone. The Internet Movie Database is great source of information relating to cinema.

Want to know the year a movie came out?  The name of a movie's director or cinematographer? imdb.com is a great place to go.

Want to know the year a movie came out? The name of a movie’s director or cinematographer? imdb.com is a great place to go.

I’ve also grown to enjoy Rotten Tomatoes because it offers me an easy and slightly more respected platform to rate and review movies I have seen. Sure I am registered on imdb, but that monster of a database has become littered with cruel rants by individuals more interested in spewing cultural rage and ignorance than about the movies themselves.

RottenTomatoes is a bit more “constructive” in the way it is set up.

Want to find quick and easy links to professional Film Critics as well as showtimes or info, RT is great.

Want to find quick and easy links to professional Film Critics as well as showtimes or info, RT is great.

The gleefully cultural rage is limited to that individual’s space on the site. However, I’ve never been able to really understand the way in which RT comes up with a rating. At first I thought the overall rating was dependent upon the professional Film Critics employed to review movies. Not so sure that is true. Eventually the “audience ratings” have some sort of impact. And, if one actually reads the professional Film Criticism and compares it to the rating RT assigns to that individual’s reviews are not always correctly interpreted. For instance, I recently followed the “selected portion” of A.O. Scott’s review on RT to the unabridged and full review. RT had assigned a high rating for Scott, but reading the entire review Scott seemed to have many reservations about the movie with a few admittedly positive comments. If one had to assign a rating to his opinion related to the film — it would be closer to “5” than the “9” that RT assigned.

I enjoy Film Criticism and have a true interest in Film Theory of all types. During one of the many times I opted to skip class in middle school I ended up skipping alone and without the benefit of weed. I ended up crouched in the library where I stumbled upon a copy of Pauline Kael’s I Lost It At the Movies.

Pauline Kael's book is seminal reading. It is not, however cinematic gospel.

Pauline Kael’s book is seminal reading. It is not, however cinematic gospel.

Even though it had been published in the the 1960’s I discovered what a film critic can do. I found her insight into Film Art as fascinating as well as frustrating. I valued her opinions and ideas relating for the movies. By the time I was approaching university life my feelings about Kael began to shift. Reading her film reviews from the beginning to the end of her professional life reveals a great deal. Pauline Kael was brilliantly talented. She had earned the respected her opinions carried. One of the reasons she helped elevate Film Criticism to the masses was due to her often dark humor. Though one could never accuse of her of making “judgement” or forming opinions based on purely superficial mean bias — that fell to critics like Vincent Canby and Rex Reed. Canby was often more “bitchy” than “insightful” but Reed as always approached his role as Film Critic as jealous and bitter old queen. …Even when he was young.

The great and truly iconic American Film Critic, Pauline Kael. (photographer unknown to me)

The great and truly iconic American Film Critic, Pauline Kael. (photographer unknown to me)

Kael, however retained her dignity. But it is impossible to view her criticism as consistently valid. As her career and reputation advanced, she often used her status in cruel ways. I once got the feeling that if Robert Altman or Hal Ashby were to have the misfortune of stepping on one of her feet as they made their way to their respective seats — Ms. Kael would most likely hate their latest movie. Hate them not because the movies would be bad, but because they stepped on her foot. She also seemed to take an almost demented pleasure in building a filmmaker or actor up and then gradually deconstruct her opinions to push them down. As example, she championed Meryl Streep upon her arrival to mainstream cinema. However, as soon as Streep took off in some truly amazing performances — Kael nearly always dismissed Streep’s talent. Keep in mind that this was before Meryl Streep started to fall into mannerism. One Kael’s most harsh assessments of Streep’s skill and “place” as a movie star was related to Karel Reisz’s interesting adaptation of The French Lieutenant’s Woman in 1981. Given the daunting task Reisz and Harold Pinter faced in transferring John Fowles’ experimental post-modern novel to the screen,  the film remains powerful due to it’s lush style but most importantly to Meryl Streep’s layered performance. While the movie has flaws, Freddie Francis’ cinematography and Streep’s skill raises high above most films released that year. Kael’s verbal attack of Streep’s work and validity as a “movie star” seemed not only inappropriately off-target, Kael was just wrong.  However, one of the reasons Kael’s words remain vital is the interesting mix of true passion and her almost perverse but clever provocation. Her often brilliant insights and her sometimes painfully incorrect evaluations. She loved to provoke her readers into interest as much as to offer her guidance to the film work she valued. That passion, provocation and intellectually fused writing still has bite.

It was probably around this time that Rogers & Ebert popped up “my” cultural map.

Film Criticism arrives to the mainstream via Gene Siskel and Roger Ebert. ...At The Movies.

Film Criticism arrives to the mainstream via Gene Siskel and Roger Ebert. …At The Movies.

Living in a Southeast Texas town, I didn’t always have access to the movies that seemed to be calling me to view them. I began driving 80 minutes to Houston so I could see the films that were getting praise and “thumbs up” These two all too human Film Critics provided often opposing view points that was not only entertaining to watch but often gave two distinctly different opinions. They both helped to guide people like me to seek out movies I would have missed otherwise. It was actually Roger Ebert’s clear discomfort regarding David Lynch’s neo-noir masterpiece, Blue Velvet, that propelled me to see it. Though I loved every moment (and still do) — I could understand his perspective. Had I not seen Ebert become so disturbed, I doubt I would have managed to see this film projected onto a screen — which oddly enough did play in my hometown. …for 2 days. Angry Baptists and Pentecostals made the cinema end the run.

Isabella Rossellini in David Lynch's Blue Velvet, 1986. Cinematography: Frederick Elmes

Isabella Rossellini in David Lynch’s Blue Velvet, 1986. Cinematography: Frederick Elmes

For the record, In the beginning I tended to lean more toward Siskel, but gradually I often found myself somewhere in the middle of the two. And, by the time I was out of college, Texas and fully independent in a more liberal and vital part of the US I began to find the whole “thumbs up / thumps down” approach to Film Criticism not only at odds with my perspective about what made movies so interesting to me. I also became painfully aware of my friends who would decide what they saw based solely on the opinions of the thumbs of these two men.

Two Thumbs Up! Really? Or are the being satirical? I did raise a finger, but it was not my thumb.

Two Thumbs Up! Really? Or are the being satirical? I did raise a finger, but it was not my thumb.

As my world view began to open I started to question the role of Film Criticism. I began to feel more confident in following filmmakers who were not being fully “accepted” by the majority of professional film critics. Although my degree is in English Literature and I ended up selling my soul for over 17 years to the evil world of Corporate America — my true passion always belonged to the cinema and to the artists who were brave enough to struggle through the ever-surmounting challenges facing Independent Filmmakers and forge ahead with their distinct vision of cinema. So many film artists of my generation have either sold-out or settled into obscurity funded by the money they made in from the late ’80’s to the mid ’90’s.

But a few of them are still active and pursuing their evolving ideas. As an example, Todd Solondz is my senior by about 12 years, but I still claim him to my generation. He continues to find funding for his art. And, that art is just as vital, challenging and unique as it was when Welcome to the Dollhouse exploded on to screens. In fact, his most recent film was one of the more under-appreciated movies of 2011.

Todd Solondz's Dark Horse Cinematography: Andrij Parekh

Todd Solondz’s Dark Horse
Cinematography: Andrij Parekh

In Dark Horse, Solondz finally plunges full force into Cinematic Surrealism as a way of reflecting his normal pessimistic cultural and societal commentary rather than to just be weird. (An often mistake of artists in fully understanding “Surrealism” and the power it allows) …In Dark Horse, we follow Jordan Gelber as “Abe” through a series of humiliating, awkward and often defeating situations presented in a “reality” that may or may not always be real. And, for the first time in his career, Solondz made a film that was uniquely touching, funny and almost hopeful. But he did this without sacrificing his core vision of the way we as both a society and a culture marginalize people. It was a feat. It was also a challenging work of cinematic art that caught many off-guard. While it is safe to say that it received a fair amount of praise from critics, the ultimate evaluation by most “critics” was so tied to his previous work which was deemed “more effective” or, oddly enough, “more accessible” — That is not the goal of this artist. While the film may not suit the tastes of many, there is very little “wrong” with this tightly edited experimental film.

Dark Horse currently carries a “70%” with Film Critics and a “40%” Audience Score on RT. This translates to a masterful film being considered “Fresh” by RT but also indicating there are “strong reservations” for being a film worth your time. Despite securing a limited theatrical release, full DVD/Blu-ray release and streaming on Netflix — it continues to connect with its audience. I suspect a large reason for many missing it is because they are actually following what has been correctly coined Consensus Film Evaluation.

I’ve lost count of the number of people I know who have to “jump on to” RT to see how a film is rated before they will either spend the money to see it or even view it as it streams on their Netflix account. In many ways, this type of film evaluation is undermining Film Art and even the more mainstream interests of Hollywood Studio releases.

Another filmmaker who found success in the 1990’s and someone who is only a year older than me is David Mackenzie. In 2012 he made and found a solid distribution deal for Perfect Sense.

Ewan McGregor and Eva Green in David Mackenzie's Perfect Sense. Cinematography: Giles Nuttgens

Ewan McGregor and Eva Green in David Mackenzie’s Perfect Sense. Cinematography: Giles Nuttgens

This film is a beautifully crafted emotional love story set in the beginning of an apocalyptic contagion. In Mackenzie’s apocalypse he remains unquestionably true to his bleak vision of reality. Ewan McGregor and Eva Green encounter no zombies, horror movie cliches or satire. What they do discover is true intimacy and love during an overwhelming situation. Certainly dark, this artfully styled and well-acted film makes a very profound statement about the human need and comfort that can only be found through connecting to another. The film takes a firm stance in the way it explores human relationships. Not a perfect film, but a film full of merit.

It offered a unique take on the universal phobic fears of contagious disease but also provides a sensually rendered love story. I saw the film before it started screening at festivals and was released. I expected it to find a strong degree of praise. Instead, it currently holds a clearly “Unfresh” RT rating of 52% with an Audience Score of 59%. Despite praise from the likes of Lisa Schwarzbaum and Stephen Holden, it seemed that most professional Film Critics either choose to ignore it. Either way it failed big time to connect to the audience I know it has. I gave up trying to convince several pals to see it because it has such a low rating on RT.

Even the mainstream and unchallenging movies are suffering from Consensus Film Evaluation. For example — and, this one will probably make more than a few people reading this roll their eyes — but stick with me. Anne Fletcher’s big budget movie staring Seth Rogen and Barbra Streisand was killed by two aspects of the current state of cinema: Bad Marketing and Consensus Film Evaluation. The Guilt Trip is by no means a work of what I would call “Film Art” but it is most certainly not the movie promised in this poster.

Seth Rogen and Barbra Streisand in Anne Fletcher's The Guilt Trip Cinematography: Oliver Stapleton

Seth Rogen and Barbra Streisand in Anne Fletcher’s The Guilt Trip
Cinematography: Oliver Stapleton

This would appear to be a very “digitally enhanced” Streisand and a very unsurprisingly stoner-like Seth Rogen in another lame “Focker” like bland “watch this iconic movie star be ‘outrageous’ with a toilet and ‘uber-cool’ Seth Rogen! — in other words, the last movie anyone wants to see. The marketing and the promotion of this movie were so bad that I honestly do not think the majority of critics bothered to actually see it. A reading of several respected critics’ reviews point to minor plot points that were only featured in the awful previews. In reality, this is a surprisingly realistic depiction of a mother entering the last quarter of her life and a son at a crucial turning point of his life trying to connect on a road trip. Streisand looks her age. Rogen never is required to do any stoner routines. In fact, the movie is almost more concerned with the challenging mother-son dynamics. That concern is presented in a fairly naturalistic way by two undeniably charismatic movie stars. Nothing earth shattering, but surprisingly insightful.

The Guilt Trip carries an equal “39%” rating. If only Paramount had marketed the film correctly, this movie would have succeeded and would have had a more fair chance in the worrying wold of Consensus Evaluation.  Instead, it failed to be the sort of movie that Rogen or Streisand fans want. But, the audience that would have enjoyed this small movie just ignored it altogether because none of this audience care for what either of these iconic actors usually do.

And that brings us to the latest excellent opportunity to “re-think” Consensus Film Evaluation: George Miller’s personally return to the character and story he started in the 1970’s with Mel Gibson. Now some 30 years later he has Tom Hardy playing what has been called “a more realized” vision in Mad Max: Fury Road.

Mad Max: Fury Road George Miller Cinematography: John Seale

Mad Max: Fury Road
George Miller
Cinematography: John Seale

George Miller’s new movie has stirred up a great deal of “acclaim” and “discussion”  There can be no denying that Miller has found a stronger actor in Tom Hardy. And there can be no denying that this is a very different Mad Max than we have known. With very few actual opportunities, he does manage to bring a new meaning to “Mad” Max. This Max is not just angry and seeking vengeance. This Max is damaged and clearly dealing with a sort of PTSD that makes him oddly passive until pushed to the brink of death before he burst into a true fury. Most importantly, Miller’s film creates true adrenaline-fueled intensity in an almost unrelenting assault of the senses via clever interlacing of digital enhancements to real ‘analog’ stunts. Depending upon an individual’s point of reference this is either an intensely fun rollercoaster ride of a movie or an impressively imaginative but gory experience of action and noise.

Tom Hardy's skills are once again masked in George Miller's Mad Max: Fury Road

Tom Hardy’s skills are once again masked in George Miller’s Mad Max: Fury Road

While I was impressed with the over-the-top stunts and the clever use of real stunts and digital work, ultimately I found the film way too long and short on plot to be interested. As hard as it is to believe, I was truly dazzled visually,  but a mild headache and boredom set in at about the 40 minute mark. Essentially this is a movie about frantic car chase/battle going from point A to point B and then repeating almost the same trek back to Point A — only Miller somehow finds ways to escalate the brutal onslaught of violence and noise.

As I stumbled out of the cineplex I was at once impressed with many aspects of what Miller did, but honestly was more heavily disappointed at the way this creativity was used. Miller’s vision is alive with ideas, but much of them feel like they were lifted from a Death Metal teenage fever dream. And why did he opt to apply a mask over Tom Hardy’s powerfully expressive face for much of the movie? Aside from feeling like something stolen from Christopher Nolan’s interesting but overly-ambitious final chapter in the Batman franchise — it also only serves to mask the only “human” element in the movie.

Mad Max: Fury Road currently rates really “Fresh” with an unreasonably high rating of “98%” from critics and “90%” from the Audience. This makes it one of the highest rated films on RT. Later, I sat down and actually read the full reviews from these critics. In reality, only a couple of critics truly loved this movie. The majority found Miller’s ability to create such a frantic level of tension to be the most important aspect. When I looked back at how RT had assessed the critics reviews, I think they applied a higher rating than the critic seemed to be giving.

And then it hit me. I had gone to see this movie because it was rated so high on RT. Shit. I just fell right into the lameness of Consensus Film Evaluation which could end up crushing the already very restricted word of Film Art for artist who actually have something to say.

Apparently the Apocalypse will be accompanied by a very loud metal band. George Miller's Mad Max: Fury Road

Apparently the Apocalypse will be accompanied by a very loud metal band. George Miller’s Mad Max: Fury Road

Oh, and just to add some perspective to the value of Consensus Film Evaluation, Francis Ford Coppola’s The Godfather currently holds a rating that is exactly “1%” higher than Mad Max: Fury Road. It doesn’t take Film Theory major to see the problem here.

Marlon Brando as The Godfather. Francis Ford Coppola, 1972 Cinematography: Gordon Willis ...just barley "fresher" than Mad Max: Fury Road

Marlon Brando as The Godfather. Francis Ford Coppola, 1972 Cinematography: Gordon Willis …just barley “fresher” than Mad Max: Fury Road