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Monday, Apr 22, 2013
Oblivion reminds you of other science fiction films? Really? Maybe you know too much about the genre to enjoy a decent example of same.

It seems so silly. It’s the lowest form of criticism… and yet, all throughout the 19 April 2013 weekend, critics have been having a field day with Tom Cruise’s latest sci-fi epic, the oddly named Oblivion (was that title ever explained in the film or did it just sound really cool?). While it easily claimed the weekend box office ($38 million, and counting, on top of the near $112 million it’s already earned overseas), it’s also earned some scathing notices, most pointing out how heavily the movie lifts from previous cinematic staples. Everything from Planet of the Apes (?) to The Matrix has been name checked, with every other bit of celluloid speculative fiction thrown into the mix to maximize the message. Indeed, the consensus appears to be that Oblivion may be great to look at, but it’s also clearly unoriginal and derivative.


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Monday, Apr 15, 2013
With a rash of recent sequel announcements, many wonder if Pixar is still being creative, or merely going commercial.

With the recent announcement that Pixar, those purveyors of flawless (?) animated family films, was once again going back to the base for a sequel to the fan favorite Finding Nemo, a question has arisen among cartoon connoisseurs. To paraphrase said sentiment—are the masters of mainstream computer animation looking to be more creative, or more commercial? Posited another way, the issue becomes one of corporate interference, business model meddling, and a true lack of pundit perspective. Granted, John Lasseter and the gang stumbled a bit with Cars 2 (seen by many as made for merchandising reasons only) and Brave (which may have won the Oscar but few true converts), but for the most part, their reputation has remained unsullied…


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Friday, Apr 12, 2013
Race is always handled awkwardly and obviously in film. The latest on the legacy of Jackie Robinson is no exception.

Racism is an ugly, ugly thing. There is no excuse for it, no way to argue out of its sickening sensibility. Time and temperament can change. So can people and perspective. But to make rash, ridiculous decisions based on skin tone, sexual orientation, religious beliefs or any other superficial stricture is the most mindless of judgment calls, and to attempt to defend such dumbness is the height of hopelessness. People should be based on who they are as human beings, not predetermined misread stereotypes. And yet we are currently embroiled in a clash over same sex marriage, only fifty years removed from a time when “colored” folk had to use segregated social facilities - if they were allowed in at all.


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Wednesday, Apr 3, 2013
Can something considered a masterpiece be overrated, or is such a reaction merely the height of crass critical insularity?

A debate has been raging on the Internet over the past two weeks, a war of words between a certain select group of critics and their equally astute peers. It all centers around a recent poll by Indiewire (as part of their Criticwire brand) dealing with, and we quote, “Overrated Masterpieces.” Now, if that tag isn’t confusing enough (if something is considered a “masterpiece,” can it really be “overrated?”), many of the answers were. As pointed out by Calum Marsh in his Film.com response “The Movie Isn’t ‘Overrated,’ You’re Just Lazy” several of the opinions offered were nothing more than dismissals and assertions. While the framework of the piece may have allowed for such shortcuts, Marsh argues that many of the conclusions can be summed up in the following way: I’m right, everyone else is wrong.


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Friday, Feb 22, 2013
Our picks for who will win, and who should win, the Oscars for the year in cinema, 2012.

It could be one of the more interesting Oscar years ever. When the Academy decided to snub both Ben Affleck and Kathryn Bigelow for their highest directing honors, it seemed to suggest a desire to move beyond the slow, steady slog of ceremonies and given accolades (and their accompanying predictability) to actually acknowledge something beyond the rote and the routine. Complicating matters further was the desire to include a formidable foreign film entry among the other Best Picture nods. Yet even within that anomaly, the same old malaise sets in. By Sunday night, the 24th of February, 2013, we will learn if an upstart indie set against the backdrop of a Katrina like Gulf Coast can really compete against a blood slavery exploitation revenge flick, as well as the usual end of year fare.


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