I don’t have much to say about the latest film criticism obit, this time from Anne Thompson at Variety. Well, okay…I have a couple of things to say.

Number one: Although I love Pajiba, I don’t see them fulfilling the role of champion for under-the-radar new releases. A champion for forgotten/overlooked/misunderstood catalog titles, yes, and deflater of misbegotten studio marketing-fueled wannabe blockbusters, for sure. But scroll down their front page right now, and the “smallest” film you’ll see reviewed is Flawless, a Magnolia release starring Demi Moore which Dustin Rowles compared to the experience of a former smoker lighting up for the first time in five years: “the first few puffs are exhilarating, but then the headache sets in, and then you wish you’d quit puffing away before the tobacco left a taste of ass in your mouth that you still taste the next morning.”

Pajiba reliably gives each release they cover the treatment it deserves, but they don’t have a mandate to cover everything. They’re an indie site with limited resources, and they’ve chosen not to devote those resources to panning for untapped art house new release gold. Which is understandable––seeking out and heralding worthy festival films and smaller releases can be an arduous process and in terms of traffic, it’s often totally thankless––but when I think of sites that could realistically fill the void created by an absence of adventurous print critics, dedicated to, as Thompson puts it, “influenc[ing] readers to seek out small releases,” I think of Reverse Shot or The House Next Door long before I think of the site that devotes 800+ words to why David Zucker “should crawl up into the fetal position and abort himself for allowing Superhero Movie to see the light of day.”

And then there’s David Ansen.

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In what they’re trumpeting as an exclusive, Defamer reports that the Detroit Free Press has elected not to replace their recently forcibly retired film critic Terry Lawson, and will fill his coulmn space with wire reviews:

We called the Detroit Free Press this morning and learned from a (very confused) HR rep that “We are not planning on replacing [Terry Lawson] at this time.” Very interesting. By our research, all of the other Top 20 newspapers in the United States have at least one major, well-known critic (yes, even the Arizona Republic). However, The Freep’s move clearly signals that there’s a changing tide in the amount of importance (and budget dollars) local newspapers allocate to coverage of the movie business.

The real news here may be that Defamer managed to publish 267 completely snark-free words about anything, let alone the decline of print film criticism. Associate editor Molly Friedman even closes with the seemingly sincere lament that “it still saddens us that there’s not enough room in the budget of a Top 20 newspaper to send someone to the movies a few times a week.”

In all seriousness, the Detroit Free Press‘ move is the latest in an epidemic of regional newspapers dropping their film critics. This is clearly a problem in the short term, but may turn out to be a positive on a longer timeline.

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eFilmCritic has compiled their annual Criticwatch list, designed to shame the most offensive quote whores in film criticism, and they’ve given top honors for “an incredible amount of supercilious douchebaggery” to Pete Hammond, the MAXIM critic whose reliably, absurdly positive blurbs appeared on a whopping 88 film campaigns in 2007. Hammond, a Criticwatch veteran from way back, has long been considered to have few peers in the quote whoring game. As Erik Childress writes:

Hammond is more than just a cancer on the film critic profession. He’s the poster boy for everything that’s wrong with an American media preaching to the lowest common denominator and a vocation that receives its most vocal criticism from outsiders when it’s actually doing its job of criticizing…

We have announced in the past that we have no plans to give Pete Hammond his own award name – because that will take away his pre-determined advantage to winning it each year. If he can aspire for 88 quotes in 2007, who knows how far he can go in 2008 & beyond. I will amend that statement though. The day Hammond is eliminated from our discussion; such a day when we no longer see his name on a film ad – I promise, here and now, to offer him his own memorial award.

That day might arrive sooner than later. Towards the end of the post (which also includes a full Top Ten countdown of the year’s biggest blurb whores and minute calculations on the emptiest/most overused blurb language of the year and is basically a sterling example of the kind of inside baseball nerdiness that I can get lost in for an entire afternoon), Childress notes that while the gang at eFilmCritic were compiling this document, they got word that Hammond has been fired.

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Almost three years ago, after Diary of a Mad Black Woman opened to big box office but largely negative reviews (16% on Rotten Tomatoes, in spite of fairly sympathetic reviews from EW and the New York Times) Lionsgate gave up even screening Tyler Perry films for critics. This is not an unprecedented move for Lionsgate–the studio’s bread and butter is the kind of disposable horror film that opens and closes on the whims of teenage boys, who are generally not dedicated readers of film reviews. But it does seem unusual in terms of demographics: Tyler Perry is the only filmmaker I can think of who is making films for and about middle-class adults–people who do read newspapers, even if they don’t necessarily use them as a guide for cultural consumption–whose movies are routinely denied entrance into critical discourse.

Sure, the NYT will send a critic to a Friday matinee and publish a review in Saturday’s paper, but the very fact that they have to exercise effort on this almost guarantees that the review will be dismissive. Compare second-chair critic Stephen Holden’s review of Diary to Anita Gates’ review, in the same paper, of Perry’s next film, Madea’s Family Reunion. Holden acknowledges that Perry has a built-in (black, middle-class, female) audience that doesn’t include (white, middlebrow, middle-aged, male) him, and then procedes to take Diary seriously enough to consider the film on its own terms. Gates, meanwhile, finds Madea’s very premise suspect. “What is it about fat-lady drag that appeals to so many young black male comedians?” she asks, but doesn’t attempt to answer.

But could the tide be turning? It seems significant that mainstream critics are now going out of their way to defend Perry’s latest film.

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At Steady Diet of Film, Erin has a great post about two not-so-great film recommendations that came her way via form emails from John Kerry and the ACLU. Particularly alarming (to me, anyway) is Kerry’s endorsement of Paul Haggis’ In The Valley of Elah. In the portion of the email that Erin excerpts, Kerry essentially uses rhetoric to fight rhetoric. Elah is not “an ‘anti-war’ film,” he says (his fear quotes, BTW), because that term is too “too cheap and easy and clichéd.” “No,” says Kerry. Elah “is a film about soldiers and families.” Nothing easy or clichéd about that!

To which Erin responds:
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Forget about Manohla’s pan (seriously: has she just been watching too much Behind the Music?): go read this story on AJ Schnack’s Kurt Cobain: About a Son in the Village Voice, and then, if you have the means, go see the film tonight in New York or this weekend in L.A. To quote the inimitable Camille Dodero:

If Cobain’s death is the 9/11 of the modern-rock canon—an epochal tragedy that recklessly opportunistic minds have flattened into a sad, one-dimensional cartoon—then Gus van Sant’s tedious and arrogant Last Days is the World Trade Center of the posthumous Kurt industry: a fictionalized piece of shit by a big-name director. (And Nick Broomfield’s Kurt & Courtney is the Fahrenheit 9/11.) [...] Here Kurt Cobain, the supernatural songwriting god who discovered that the only true fountain of youth is death, is transmogrified into a mere mortal. This is About a Son’s singular objective, and real accomplishment.

We’ll have more on About a Son on Friday’s episode of FilmCouch. Suffice it to say, we’re fans.

Harry Knowles’ Fantastic Fest closed last night with a (badly kept) secret screening of Paul Thomas Anderson’s There Will Be Blood. We weren’t there, so let’s go straight to those who were. I’ll update this post as more folks weigh in. Suffice it to say, at this point, the first negative word will be news.

• Mike D’Angelo [via GreenCine Daily, via Twitter]: “Not much more than formal mastery and a ferocious Day-Lewis turn, but hey, that’s plenty.”
• Marjorie Baumgarten for Variety: “There Will Be Blood was indeed an unusual choice to close out this year’s Fantastic Fest, as Alamo Drafthouse Cinema founder and host Tim League was the first to admit. Though the film hardly belongs to the science fiction, fantasy, animation, and crime genres that attendees had been snacking on all week, League attested in his introduction that the film is undeniably “fantastic.” [...] However, it took Ain’t It Cool News‘ Harry Knowles to point out during the Q&A that Plainview was the “best monster” he had seen all week. Anderson responded that Dracula was in his thoughts as he was writing the screenplay. “There Will Be Blood” indeed.”
• An anonymous text messager, also via Variety: “Easily one of the best movies of the year.”
• Matt Dentler: “God Bless P.T. Anderson, for making his fifth consecutive slam dunk. I’m just so stunned and impressed and shaken by this film.”
• Jeffrey Wells, quoting reader Dan Brown: “‘I know the film won’t be well received by everyone. The two and a half-hour running time might be off-putting for Middle American styrofoams but I was really into the movie right from the start.’ The most interesting sounding aspect, he adds, is that ‘the first 15 to 18 minutes of the film are dialogue-free.’”
• Scott Weinberg at Cinematical: “It’s more than a ‘departure’ for the director; it’s a monumental display of ‘evolution’ that’ll wow the established fans and impress a helluva lot more new ones. This is a dark, compelling and effortlessly engrossing film, one bolstered by a lead performance that ranks among the very best of Lewis’ impressive career.”
• John DeFore at The Hollywood Reporter: “Director Anderson’s critics might not know what to do with this picture, which has none of the attention-grabbing flourishes of earlier films — no hailstorms of frogs or deus ex machina pianos here. The closest it gets to self-conscious showiness is its closing scene, a confrontation as memorably strange as the fireworks-popping, “Jessie’s Girl”-belting drug deal in Boogie Nights.”
• Peter Martin at Twitch: “In several important ways, though, There Will Be Blood was the perfect film to close the festival. First, it is a major stride forward by Anderson. Not only has he left behind the present-day San Fernando Valley suburban milleau of his last three films, he has greatly sharpened his storytelling abilities and broadened his visual palette. Second, this is a tale in which the characters fully embrace their emotions, resulting in sometimes over the top behavior that’s familiar to anyone even mildly acquainted with genre fare. Third, the film features a monstrously entertaining performance by Daniel Day Lewis, embodying a man quietly hellbent on achieving success, and you can never have too many monsters at Fantastic Fest.”

See also our spoileriffic report from the Blood preview at Telluride.

Over the next week, I’ll be appearing on several Toronto Film Festival-centric episodes of ReelerTV, which Stu VanAirsdale and friends are producing in collaboration with Spout. In the episode embedded above, Stu hits the red carpet for the premiere of The Brave One, and I recap a batch of Toronto films that I saw in Telluride, including Juno, Margot at the Wedding, and Redacted.

With the Toronto Film Festival beginning tomorrow, we’ve just about concluded our Telluride coverage. Here are some highlights. You’ll find a full guide to our Telluride reportage, minus Friday’s upcoming all-Telluride episode of FilmCouch, after the jump.

Kevin interviews Sean Penn about his Telluride directorial triumph, Into the Wild.

Karina has a detailed preview of Paul Thomas Anderson’s There Will Be Blood.

Paul talks to Werner Herzog about “life, risk and how his mom quit smoking.”

“In Superbad, Michael Cera fantasizes about a world in which ‘girls weren’t weirded out by our boners, but actually wanted to look at them.’ Juno takes place in that world.” Karina reviews the Festival’s biggest buzz-getter, and Paul interviews director Jason Reitman.

We love People on Sunday. Paul says the 1929 silent film “contains the most seductive first kiss I’ve ever seen on film. No joke.” Karina looks at the historical context.

“It’s true that I was in a rather fragile, sleep-deprived state at the time, but even now, the morning after, as it were, I still love this film.” Kevin’s talking about I’m Not There. He also talked to that film’s director, Todd Haynes.

“When I was 20 years old, I moved from Chicago to San Francisco, and I did it for George Kuchar.” Karina offers some thoughts on the experimental legend/Telluride honoree.

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It’s not quite 8:00 AM, but I have a candidate for Quote of the Day. From Michael Atkinson’s review of Broken English, newly released on DVD, at IFC News:

Posey-triumph and single-chick indie miracle that it is, Broken English may also be the most eloquent portrait of its subject demographic ever made, despite changing two-thirds of the way through into a slightly ditzy French-movie version of itself and robbing a little, in the end, from Linklater’s Before Sunset. While Sex in the City reruns are merely the idiot’s guide to lonely-girl anesthetization, Cassavetes’s feature-film debut is the true gem.

Whatever you think of Zoe Cassavetes’ film, it’s definitely had an interesting media life. Largely overlooked at Sundance, generally shrugged-over in its theatrical release, reclaimed late in the game by a handful of bloggers (including me) and now, finally, earning glowing reviews at the end of its media cycle. If theatrical distribution is now essentially a commercial for home entertainment sales (and I’m fairly sure Magnolia, English’s distributor, believes it is), than this is perhaps the best reception a film could ask for: the longer Broken English sits in the culture, the more positive attention it attracts. It’s a “sleeper” on a long-tail timeline.

Recently, IFC’s Evan Shapiro defended his company’s production and distribution of new chapters in R. Kelly’s Trapped in the Closet saga by comparing the “hip hopera” pioneer to postmodern trash god John Waters. Trapped, according to Shapiro, “challenges the traditional mores and sexual stereotypes of the current climate as boldly — and hysterically — as many films coming out of Hollywood or the indie movement.”

In the current climate of posture-as-polemic, it’s impossible to gauge exactly how seriously Shapiro intended us to take that provocation, but I certainly kept it in mind whilst watching Chapter 13 of Trapped (the first Chapter to be produced under the IFC deal), which premiered on IFCTV.com last night. New episodes are set to premiere every evening on the site for the next ten days.

From the first shot, it’s immediately apparent that Trapped’s production values have been elevated somewhat since Chapter 12 was released two years ago. The story has moved out of the closets and cupboards and kitchens of Slyvester and crew, and on to the streets of Chicago (or, at least, a decent facsimile thereof). There are sophisticated camera movements, and lush, dissolve-heavy montages. Whereas the soundtracks of previous episodes barely allowed Kelly the time to take a breath, Chapter 13 concludes with a musical interlude that’s actually about the passing of time.

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Last night the Tribeca Film Festival announced the winners of their various jury prizes, and you know what that means: it’s time to take another look at the Tribeca 2007 Buzz-O-Meter, my oh-so scientific analysis of the pre-Fest attention derby. Here’s a rundown of which films lived up to the buzz, which films didn’t, and which come-from-behind contenders soiled the betting pool.

Buzz Fulfilled

Taxi to the Dark Side
Pre-Fest Buzz Class: Earth-Shattering
Pre-Fest Odds of Living Up To Buzz: 10:1
What Happened This Week: Alex Gibney’s torture doc won the Festival’s highest documentary prize, despite mixed reviews. At indieWIRE alone, Howard Feinstein criticized the film for covering familiar ground and dismissed it as “slow [and] right for TV”, while Anthony Kauffman allowed for Taxi’s similarities to Sundance hit Ghosts of Abu Ghraib, but said Gibney’s film “nevertheless still gripped me by the throat and never let go.”
What Happens Now: Expect a distribution deal to be announced soon.

A Walk Into The Sea
Pre-Fest Buzz Class: Earth-Shattering
Pre-Fest Odds of Living Up To Buzz: 5:1
What Happened This Week: Esther Robinson’s doc kept up a steady stream of blog buzz throughout the week, ultimately taking the “NY Loves Film” award for best homegrown non-fiction film at the Fest.
What Happens Now: With two major fest prizes in tow (the pic was also named Best Documentary at Berlinale in February), Sea continues its tour of the circuit with screenings at the Seattle International Film Festival later this month.

Still Life
Pre-Fest Buzz Class: Earth-Shattering
Pre-Fest Odds of Living Up To Buzz: 2:1
What Happened This Week: Still Life failed to make a mark on the competition (it lost out in the Narrative feature category to David Volach’s My Father My Lord), but nine months after the film’s premiere at Venice 2006, it finally secured North American distribution.
What Happens Now: New Yorker Films is planning a platform release, beginning this fall in New York City.

Buzz Deflated

Gardener of Eden
Pre-Fest Buzz Class: Earth-Shattering
Pre-Fest Odds of Living Up To Buzz: 20:1
What Happened This Week: To be fair, Eden earned a fair amount of admiration from the difficult-to-impress Tribeca press, especially considering its dubious pedigree (a highly-stylized directorial effort from a flavor-of-the-month TV star? Considering Tribeca’s track record with these sorts of films, it’s amazing anyone bothered reviewing this at all). But while director Kevin Connolly and producer Leonardo DiCaprio head back to Hollywood with their share of friendly ink, Eden failed to make an impression on the Tribeca jury. It’s also, as of this writing, without a distributor.
What Happens Now: Even as bloggers drool over the Eden poster, the pros express skepticism that the film will ever see the mainstream light of day. As Mike Goodrich put it as Screen Daily, “Leonardo DiCaprio’s [involvement] might entice buyers to take the risk, but otherwise there is not enough novelty here to distinguish a low-budget US independent in today’s brutally crowded distribution marketplace, domestically and especially overseas.”

WTF? Buzz Spoiler

The Education of Charlie Banks
Pre-Fest Buzz Class: Not on the Buzz-O-Meter. I made the crucial mistake of underestimating the directing prowess of the former tattoo artist/rapcore sensation/amateur porn star who gave it all for the nookie. My bad!
What Happened This Week: Um…Durst went to Morimoto with a guy from the New York Times while critics dismissed his film as “facile“. Then last night, out of nowhere, Alex Gibney (yeah, that Alex Gibney), Minnie Driver and the rest of the “Made in NY” jury named Charlie Banks as the best locally-produced narrative in the Festival. Weeee!
What Happens Now: One presumes Durst will manage to parlay a combination of this shot of cred and his own F-list celebrity into some sort of distribution deal. But will Tribeca–already a festival desperately in need of an identity fix–*ever* be able to regain its dignity as a showcase for important independent film, after giving The Dude From Limp Bizkit one of their highest salutes?

Politics & Period Flicks: Kristin interviews Michael Apted, his new film Amazing Grace opens tonight. Kevin and Paul discuss Cint Eastwood’s Oscar nominated Letters from Iwo Jima. Dodd Alley (moviedodd from spout.com) reviews the movie Smokin’ Aces.

Download FilmCouch #4 or subscribe to it in the iTunes store (search for “filmcouch” or click here to launch iTunes) and a new free episode will download every Friday.

Another interesting perspective from our film studies friend Dodd, known as “moviedodd” on Spout.

Friday means different things for different people, from getting out of town to hitting the bars for a long stretch of “unwinding.” For movie-lovers, it’s the ripe time to hit Rotten Tomatoes and check for reviews on the latest weekend releases. Usually everything seems in order, as most of the major releases have been branded positive or negative. However, there is sometimes one major release with nothing next to it. Despite the heavy promotion for weeks–sometimes months–on end, not one major critic has given his or her two cents. Have you ever noticed this?

I’m sure that by now most moviegoers are familiar with the films that are not screened for critics. Sometimes these are flicks that have been shelved for years. Other times they are fresh off the studio lot. It was recently announced that the long-delayed Ghost Rider will not be screened for critics. The action film features Nicholas Cage as a rough-around-the-edges biker with a CGI flaming skull for a head. Not screened for critics? Imagine that.

It seems quite clear why critics are forbidden to see these films. If a release has “disaster” written all over it, then it would be poor publicity to release it upon the masses with stamps of disapproval from the nation’s trusted film experts. However, people are beginning to get what’s behind non-exhibition for the critics. Roger Ebert and Richard Roeper even bestowed The Wagging Finger of Shame upon these films to indicate the foul smell they emanate.

While some may immediately recognize a dud, the tactic is certainly not flawed. Epic Movie recently debuted in the number one spot despite not being screened for critics and blatantly presenting itself in previews as one of the most awful things to hit screens this year. However, the unscreened comedy Let\’s Go to Prison was a monster flop in 2006 (this goes without mentioning possible box office competition).

As a self-proclaimed movie aficionado, I see this restriction as a kiss of death. On rare occasions, some titles are worth the blind venture into the multiplex. You better believe that a critical ban did not stop me from checking out Internet phenomenon Snakes on a Plane. However, it is easy to recognize when a movie studio is so ashamed of a picture that they keep it hidden from the press.

What is your take on the black sheep of the box office? Do you decide to go see if there’s potential in a film not screened for critics, or do you see a toe tag that might as well be marked “Dead on Arrival?”