Wednesday, March 30, 2011

Upcoming Films Philadelphia

Greetings Soldiers and Cinephiles,

Below is a list of upcoming films in Philadelphia worth checking out. I have also included a list of films playing at cinefest that I think will be worth checking out. Stay tuned for more updates concerning Shooting Wall Issue # 2. I hope to see everyone at the first Shooting Wall meeting/screening Sunday April 10th at Wooden Shoe.

Opening at Ritz Friday April 1:

Certified Copy by Abbas Kiarostami
Miral by Julian Schnabel

International House:

Wednesay April 6th at 7pm - Archive Fever - Flaherty on the Road: A series of films featuring works by and inspired by pioneering documentary filmmaker Robert Flaherty.

Friday April 8th at 7pm - Kick in the Eye Screenings: The Closet (1966) by Andy Warhol andBlue (1993) by Derek Jarman

Saturday April 9th - Kick in the Eye Screenings: Bijou (1972) by Wakefield Poole andCommunity Action Center (2010) by AK Burns and A.L. Steiner

Bryn Mawr Film Institute:

Tuesday March 29th at 7pm - The Sweet Smell of Success (1957) by Alexander Mackendrick

Wednesday March 30th at 7pm - Some Like It Hot (1959) by Billy Wilder

Tuesday April 5th at 7pm - Jules and Jim (1962) by Francois Truffaut

Tuesday April 12th at 7pm - The Passion of Joan of Arc (1928) by Carl Theodor Dreyer

Cinefest Films:

The Catechism Cataclysm
Living on Love Alone
My Joy
Old Cats
Project Nim
Two Gates of Sleep

East Coast Video Philadelphia

ecv logo 4

East Coast Video, Flux’s current project, showcases local video makers.

Look forward to screenings of curated groups of artists from rotating east-coast cities atFLUXspace.

The Philadelphia Edition of East Coast Video is curated by Egina Manachova and will exhibit the short, witty, films of Leslie Rogers, David Kessler, Katya Gorker and Spencer Sheridan.

Roger’s Mouth Puppet Series confronts the morally gray area that her puppets and her audience inhabit. Kessler wants all of us to discover new and exciting products for the whole family in his World of Products I & II. Gorker’s “First Thoughts, Last Words” will take us on what she describes as “an episodic, no strings tour of emotional ventriloquism”. A clueless soul finds little direction in the Universe in Spencer Sheridan’s The Last Starfighter: Part 2.

Catch these moving images on Thursday, March 31st at 9:00 pm sharp. The artists will be on hand to discuss their work post screening. Stay to celebrate this evening of video with good spirits and the sound of hand-spun vinyl tunes leading your feet on to the dance floor. For an even better dance routine, BYOB a drink that hints at a refined palette.

The FLUXbus will be shuttling both from the Huntingson El stop, as it always does, BUT ALSO from the Teach 4 Amerika rally at Tyler. We’ll do a pickup there at 8:30pm. Just let us know you’re taking the bus by calling 914-806-4889!

Visit the FLUXspace website to read more about the show, including bios of the four artists and images from their work.


Upcoming Calender:

More East Coast Video Volumes!

And, in mid April, your responses to Chris Kraus's Where Art Belongs hit the streets of the world... Keep your eyes peeled and keep it up! So super exciting!

mystery link of the day:

FLUXspacelogoFLUXspace is a Philadelphia based 501(c)3 contemporary cultural space that provides a platform for unrestricted intellectual and creative inquiry. We seek to explore relevant cultural phenomenon that is under examined, unfamiliar or of uncertain importance. We are interested in challenging the traditionally passive role of the viewer and conventional understanding(s) of art making. As a collaborative, we aim to be agents of the same intellectual and creative inquiry in order to challenge standard notions of cultural value. We reject individualism in favor of other models of work, social responsibility, and generosity.

Monday, March 28, 2011


Dear Cinematic Soilders,

Not too much going on this week, so you're welcome to just go make your own films instead.


A Hatful of Rain
: Classic Film Noir=> Aero Theater @ 7:30pm

Walkabout: Nicholas Roeg classic=> Egyptian Theater @ 7:30pm


2001: A Space Odyssey: 70mm print=>Aero Theater @ 7:30pm

Double Life Of Veronique: One of Kieslowski's best & Sisters: Brian De Palma's best @ Cinefamily 8pm


Every Man For Himself: Rare Godard LACMA 4/1 @ 7:30pm & 9:30pm + 4/2 @ 5pm


The White Ribbon=> Goethe Institute 4/4 @ 7:00pm


Uncle Boonme Who Can Recall His Past Lives + Ozon's Potiche


Between Disorder and Unexpected Pleasures series. Zhangke's film is my pick.

Friday, March 25, 2011

Mildred Pierce on HBO

Greetings Soldiers and Cinephiles,

I wanted to add the HBO mini-series Mildred Pierce by Todd Haynes to the upcoming films worth checking out. The mini-series begins airing this Sunday March 27th on HBO with parts 1 & 2. It will be a 5 part series airing over the next three Sundays. For those who have HBO, you should check this out. Todd Haynes has been making great films and, as he did with Far From Heaven, I believe he will infuse this period piece with his own style, ideas, and cinematic form. If you don't have HBO, try to find it online or check it out when it is available on DVD. I think this will be an interesting piece and I am intrigued to see what Haynes does with this long form, as we have seen many great filmmakers in the past take on the mini-series format with great success (i.e. Fassbinder's Berlin Alexanderplatz, Kieslowski's The Decalogue, Rivette's Out 1 (alternately show as either a mini-series or as one long, long, long film), Assayas' Carlos, Reitz's Heimat, von Trier's The Kingdom, etc.).

Wednesday, March 23, 2011


A review was sent my way of a new mumblecore horror film titled Silver Bullets . Supposedly there is a scene where Joe Swanberg, one of the chief architects of the Mumblecore aesthetic, "play[s] a character who makes shitty looking mumblecore movies that are an excuse to get women naked (which more or less sums up Swanberg’s directorial career thus far) gives a long speech about how he doesn’t like even watching movies, let alone making them, but he keeps on doing it because he doesn’t know what else to do with himself."

He keeps on doing it because he doesn’t know what else to do with himself? This scene symbolizes the intentions of any and everywhere Mumblecore filmmaker.

Such cinematic malaise is represented in every Mumblecore film. It is even apparent from the directors mouths. Their insistence on a DIY and autobiographical aesthetic has the makings of a movement, but the critics and academics who 'identified' Mublecore failed to then criticize it. This coming from the complete lack of understanding of what constitutes good cinema, that if it was present, would lead to the critical and theoretical community being more assertive. Even when something resembling a moment (60's-70's) when film-form was studied and experimented with, they wouldn't have to jump on a bandwagon because 99% of modern cinema is so deplorable.

To get more specific they fail to notice the horror of these films. The lack of skill in story telling, the boring lives these filmmakers must lead if they are autobiographical films, the continuing 21st century 'End Of History' meaningless these directors seem to override with films that are just meaningless, etc. Then the most unacceptable thing critics have done is liken this meaningless cinema to the meaning found in Cassavettes.

To surmise, these films never had the potentiality of advancing the medium of cinema. Rather they are taking composite elements of what cinema could be: the low budget capabilities, elements of 60's-70's cinema and the usage of online propagandizing. Swanberg calls these films making films "just about people," but these films are made by a minority that doesn't know what to do otherwise, as the the scene in Silver Bullets symbolizes. This added with a non-understanding of film-form, so its nothing heightened by nothing. This makes people who watch any Mumblecore cinema film ask the same question the reviewer Faraci asked "could this movie have completely ruined my love of film?"

Such is offensive when there is so much to say in our age and so much more that can be done with cinema in the modern.

Upcoming Films Philadelphia

Greetings Soldiers and Cinephiles,

Shooting Wall Issue #2 is being printed! We hope to have this in our possession and ready for distribution by April 1. I will keep everyone updated. Also, the first ever Shooting Wall screening/discussion is rapidly approaching. This will be held April 10 at 7pm at Wooden Shoe in Philadelphia. There is still plenty of room for more films and more discussions, so contact us at if you would like to attend and/or play your film or give a brief talk.

Below are upcoming films in Philadelphia worth checking out:

Opening at the Ritz:

Friday March 25th - Heartbeats by Xavier Dolan

Friday April 1st - Certified Copy by Abbas Kiarostami

Miral by Julian Schnabel

International House:

Wednesay April 6th at 7pm - Archive Fever - Flaherty on the Road: A series of films featuring works by and inspired by pioneering documentary filmmaker Robert Flaherty.

Friday April 8th at 7pm - Kick in the Eye Screenings: The Closet (1966) by Andy Warhol and Blue (1993) by Derek Jarman

Saturday April 9th - Kick in the Eye Screenings: Bijou (1972) by Wakefield Poole and Community Action Center (2010) by AK Burns and A.L. Steiner

Bryn Mawr Film Institute:

Tuesday March 29th at 7pm - The Sweet Smell of Success (1957) by Alexander Mackendrick

Wednesday March 30th at 7pm - Some Like It Hot (1959) by Billy Wilder

Tuesday April 5th at 7pm - Jules and Jim (1962) by Francois Truffaut

Tuesday April 12th at 7pm - The Passion of Joan of Arc (1928) by Carl Theodor Dreyer

Cinema 16:9:

Opening Friday March 25 - Uncle Boonmee Who Can Recall His Past Lives by Apichatpong Weerasethakul. All Philadelphia cinephiles should try and make it over to cinema 16:9 to see this film. I didn't even think it would play in Philly and this may be the only opportunity for a while to see it. Go!

Also, the cinefest schedule is up and it doesn't look great. On first glance, nothing pops out a me. I will have to look at it more closely and hope there are some diamonds in the rough. I will post something in a few days with the films worth seeing. We should have some coverage of the festival from a variety of the writers here on the blog, so stay tuned!

Tuesday, March 22, 2011


If you have not seen Bresson's cinema and/or not read Bresson's Notes on A Cinematographer you're a weak cinephile. A true solider put up these notes online. Now you have no excuse.

Check out this key piece of Auteur theory here

Monday, March 21, 2011


Issue #2 of the Shooting Wall zine is on it's way to the West Coast. Violence will ensue. Until then, check out the following films:


Maltese Falcon March 21st and 23rd @ 8pm

Eisenstein's Battleship Potemkin @ Nuart (Ends March 24th)

Cassavetes' Love Streams & Opening Night March 24th 7:30pm @ The Cinefamily

Polanski's Chinatown 7:30pm @ South Coast Village Regency Theater


Filmmaker's Alliance (a community of film artists dedicated to the advancement of true independent film through community action) Showcase March 21st 8pm @ Echo Park Film Center


Lynch's Wild At Heart March 25th 11:59pm @ Art Theater of Long Beach

Barbet Schroeder's More 7:30pm March 25th @ LACMA

Paul Morrissey's Trash 9:40pm March 25th @ LACMA


Kill Bill-uncut version-starts March 27th @ New Beverly.

Uncle Boonmee Who Can Recall His Past Lives @ Sunset 5 (May end March 24th)

Get out to Uncle Boonme if you haven't seen it, it's Shooting Wall's number 4 for the year. And then definitely check out More, it is an excellent film.

Wednesday, March 16, 2011

Upcoming Films Philadelphia

Greetings Soldiers and Cinephiles,

Issue #2 of Shooting Wall should be available shortly. The layout if finished and we are just working on making sure everything is correct. We should start printing beginning of next week. I will keep everyone up to date, but the issue should be out by April 1 at the latest.

Below are a list of upcoming films in the Philadelphia area worth checking out.

International House:

Thursday March 17th at 7pm: J. Hoberman and Robert Aldrich's Kiss Me Deadly. Film critic J. Hoberman will be at IHouse discussing his new book An Army of Phantoms: American Movies and the Making of the Cold War. He will be reading and discussing his new book, as well as introducing Robert Aldrich's essential late film noir Kiss Me Deadly. This should be a fun night for Philadelphia cinephiles. Everyone should come out.

Saturday March 19th at 7pm - Sansho - The Baliff by Kenji Mizoguchi

Opening at The Ritz Friday March 18th:

Kaboom by Gregg Araki

Chestnut Hill Film Group:

Tuesday March 22 at 7:30 - A Delicate Balance by Tony Richardson

Cinefest scheduled should be posted Monday March 21, so stayed tuned for more on that.

Tuesday, March 15, 2011


Dear Cinematic Militants,

Here is the best of the films this week. I highly suggest seeing Pitfall, Faces, and Uncle Boonme Who Can Recall his Past Lives (#4 on SW's top 10 of 2010). Kill your parents if they are enemies of film and start psychologically preparing yourself for issue #2 of SW, which is finished and will be hitting the streets soon.

And if you are in LA and like the films I am pushing here, please throw me an email at We should discuss tactics on overthrowing shit cinema. 

Steamboat Bill Jr.: My favorite of silent master Buster Keaton. In my opinion his most hilarious, but also his most acrobatic. Featuring the infamous falling building gag.
Wednesday 4/15 The Cinefamily 8pm 

Maltese Falcon: Classic film noir from John Huston. Sunday 4/20 6pm Bay Theater

For The Cinematically Strong:  
So How They Fell: Director of the recent Cannes award winning The Prophet first work.
Friday 4/18 7:30 LACMA

Pitfall: One of Japan's greatest directors Hiroshi Teshigahara's masterpiece. A must see for fans of Park, Lynch, Miike, Cronenberg, etc. 
Friday 4/18 9:10 LACMA 
Lost Highway: Only recommended for diehard fans of David Lynch. Has elements that he later perfected in his recent works of Mulholland Drive and Inland Empire, but has moments that can only be characterized as poor directorial choices. 
Midnight 4/18 Art Theater of Long Beach

The Hour Of The Furnaces: From the authors of the much debated Third Cinema manifesto Towards A Third Cinema comes a film only for those in-tune with Marxist politics and art. Fans of Godard's Maoist works should run out to this one.
Saturday 4/19 2pm LACMA

Chronicle Of Anna Madalena Bach: If you're into minimalist cinema, i.e. aesthetically pleasing long takes static shots, check this one out.
Saturday 4/19 7:30pm LACMA

 Underrated Gem:
Manhunter: Underrated American director Michael Mann will appear in person to do a Q&A after the 2nd best, after Silence Of The Lambs, of the Harris book adaptations. Far from the novel, this films showed the birth of Mann's interest in power through the lens of dialectics via two main characters holding different ideologies.
Saturday 4/18 7:30 Egyptian Theater

Proto-indie/DIY Realist director retrospective this month at The Cinefamily 4/17-4/19. 

Minnie & Moskowitz 
Thursday 8pm 

Friday 7:30pm 

Woman Under The Influence/Gloria Double Feature: 
Saturday 7pm 

Theatrical Runs:
Uncle Boonme Who Can Recall His Past Lives A must see for any cinephile.
Redland  Evokes Terrence Malick, so fans of that filmmaker check this one out. 
Battleship Potemkin Master director Sergei Eisenstein's classic of Soviet Montage. Please check out his texts Film Sense and Film Form if you want to further strengthen your film thoery. 

-It is not a question of dying for cinema, 

Wednesday, March 9, 2011

Upcoming Films Philadelphia

Greetings Soldiers and Cinephiles.

Below are some upcoming films and events in Philadelphia worth checking out.

International House:

Wednesday March 9 at 7pm: An Evening with Kathryn Ramey (filmmaker in person!)

Saturday March 12 at 7pm: Ne Change Rein by Pedro Costa - The Philadelphia premiere of the latest Pedro Costa film. This is very exciting. Costa is far and away one of the most unique and interesting filmmakers working right now. All Philadelphia cinephiles should be going to this!

Opening at the Ritz Friday March 11:

Even the Rain by Iciar Bollain
When We Leave by Feo Aladag

Philadelphia Cinefest is also coming up soon April 7-14. The schedule has not been released yet, so we will see what kind of lineup we get.

Also, as an added bonus, for anyone who can make it to New York between now and Tuesday March 15th - Film Forum is playing Apichatpong Weersaethakul's new film Uncle Boonmee Who Can Recall His Past Lives. I will be attending this weekend, and from everything I have heard and read, this is a film worth making the trip to New York for.

Monday, March 7, 2011


Intentionally or unintentionally, this a horror film about the desire of the style without the substance. 

Francis (played by writer/director/actor Xavier Dolan) and Marie are shown to us in a WS shot of their backs in the beginning of the film. They are established through this shot as a singular character. When they expose their faces, their personhood, they first glance at Nicolas, the duo's collective love interest in the film. This collective voyeurism represents an obsession, one which we come to realize can only be of the aesthetic. What I took from Heartbeats is a statement about the main farce held by the youth in the modern of the comfort of consumption over ethos.

Neo-Liberalism Is Sexy
Marie lives in an apartment with an assortment of useless, but visually pleasing furnishings. She dresses well, but her outer appearance via clothes only is a mask. Then with Francis we are supposed to grasp him also buy his clothes, what he buys at hip shops, and that major realizations for him are whether or not to get a James Dean haircut. Then all Marie and Francis seem to be able offer their love interest Nicolas are things they bought. Something which is made more poignant when we are informed Nicolas is a spawn of the ruling class. Maybe he is the cause of the soulless world the characters inhabit?

Visuals To Question the Visual
We see Marie or Francis in slow motion naked in bed. Then the film's best scenes are of Marie and Francis gazing at their "adonis" Nicolas in slow motion. We also see the duo outside, in which we are given slowmo CU shots of the clothes or of items they're buying. These scenes come off as satire, banal to an extreme, giving us a heightened moment of visual, but the alienation is we get nothing else.

An Unintentional Auto-Criticism
This is not a Canadian Mumblecore film, but it came off in a manner I thought was of criticism. A satire of the white petit-bourgeois graphic design and consumer driven lifestyle of the hipster. There are directorial choices though that don't allow the film to fully culminate into a critique.

One of these choices was the inclusion of documentary-style interviews between scenes of characters outside of the film's world. I feel this was an attempt at realism, which drew somewhat from what the farcical whole. These interviews had characters espouse their stereotypical romantic film views on love, which were without depth, but connect with the masses raised on such romantic notions a meaning of purpose. Even though love is insanity sometimes, especially when looked at through a sociological lens, which is what the rest of the film seemed to be pushing. These interviews scenes then made me question Dolan's intentions, which could of just been the attempt at a hipster rom com.

Still, Dolan is 21, maybe if critique was his aim, he just might not be at the height of his powers

VERDICT: SEE IF YOU HAVE NOTHING ELSE BETTER TO DO. Ultimately this is a portrait of a generation. Whether criticism was Dolan's aim or not, it can be criticized, and the possibilities born out of such could yield a decent discussion. Over all the film is visually impressive, which is all it is, but that might be the point.



Greetings Cinematic Revolutionaries:
Here is the best of what LA has to offer to those who take cinema seriously. Many great films this week! I recommend you run out to Weerasethakul's excellent Uncle Boonmee Who Can Recall His Past Lives before it leaves this Thursday! Then it is required that you see the Nouvelle Vague's second best musical, next to A Woman Is A Woman, Umbrellas Of Cherbourg. Seeing this film in full color and sound is the only way! And also check out Secret Sunshine, the film is yet another one of South Korea's fine film exports.

Also, I'm interested in meeting LA Cinephile filmmakers and theorists. Please throw an email! 


Tuesday March 8th:
1. (FREE) Penn's Bonnie and Clyde @ Skirball Center @ 1:30 pm
2. Ozon's Potiche @ LACMA 7:30pm (Deneuve + Depardieu!)

Wednesday March 9th:
1. Hitchcock's North By Northwest @ Agoura Hills Stadium 8 7:30pm
2. De Palma's Scarface @ South Coast Village Regency 7:30pm
3. Paul Thomas Anderson's There Will Be Blood @ The Arclight Pasadena 8:00pm
4. Chaplin's City Lights @ Cinefamily 8:00pm

Thursday March 10th:
1. Cassavettes' Shadows @ Cinefamily 8:00pm
2. Secret Sunshine @ American Cinematheque/Egyptian Theater 7:30pm

Friday March 11th:
1. Cassavettes' Too Late Blues @ Cinefamily 7:30pm
2. Demy's The Umbrellas of Cherbourg & Donkey Skin @ LACMA 7:30pm

Saturday March 12th: 
1. Hsiao-hsien Hou's Millennium Mambo @ Echo Park Film Center 8:00pm 
2. Cassavettes' Husbands @ Cinefamily 7:30pm
3. Truffaut's The Last Metro @ LACMA 7:30pm
4. Lynch's Eraserhead @ Art Theater of Long Beach 12:00pm

Sunday March 13th:
1. The Strange One, Cassavette's The Killing Of A Chinese Bookie, & Bogdanovich's Saint Jack @ Cinefamily 5:30pm

Theatrical Runs:
Running only until this Thurs 4/10:
1. Weerasethakul's Uncle Boonmee Who Can Recall His Past Lives @ Royal Theatre
2. Heartbeats @ Sunset 5 
3. I Saw The Devil @ Nuart  

Starting This Friday 4/11:
1. Redland @ Sunset 5
2. Dogtooth @ Claremont 5

1. Tues 4/8 Black Death + Witchfinder General @ Cinefamily (Free Screening/Must RSVP)

1. Cinefamily's month of Cassavettes
2. Tarantino's Birthday Month of Grindhouse films at the New Beverly
3. Open Screen Night Thursday March 10th @ Echo Park Film Center 
4. Michael Mann is coming to AC to Q&A after Manhunter
-Movies are better than books,

IFC Playing Commerical During Movies

Was watching a film I recorded from IFC this morning only to notice that they are now playing commericals DURING the movies. They used to play commerical between movies and shows and now, low and fucking behold, they are playing commerical during their movies. IFC is dead. You are not independent if you play commericals during your movies. IFC you are the probably; even Sundance doesn't play commerical during their films. You cannot claim to show original, non-mainstream and cutting edge foreign and independent films and then stick fucking car ads into the movies. YOU ARE NOT CUTTING EDGE. IFC channel is now officially an enemy of cinema. Soldiers and cinephiles, take to the message boards, write letters, write emails and let IFC know that they are now utter shit for playing ads during their films.

Sunday, March 6, 2011

Shooting Wall Meeting/Screening

Greetings Soldiers and Cinephiles,

Mark your calenders! Shooting Wall Meeting/Screening is scheduled for Sunday April 10 at 7pm at The Wooden Shoe (704 South Street • Philadelphia, PA 19147). I hope all of Philadelphia cinephile community will be in attendance. There will screenings of local cinema, talks, and discussions pertaining to the future of Shooting Wall (i.e. Issue #3, future screenings, possible omnibus film, and Shooting Wall Film Festival to name a few). We are still seeking films to be screened, so if you have something, shoot us an email, and let us know. The films can be anything that is cinema! Completed short films or works in progress are fine. Invite your friends and come and join the Shooting Wall revolution!

Thursday, March 3, 2011

Upcoming Films

Greetings Soldiers and Cinephiles,

Hello all. Shooting Wall Issue #2 is coming soon. We are currently working on the layout and hope to have the issue out later this month. Keep posted to the blog for more details.

Below are some upcoming films worth checking out in Philadelphia

International House:

Friday March 4 at 7pm: Road Movie (1974) and Savage Eye ( 1960) by Joseph Strick
Saturday March 5 at 5pm: Criminals (1996) and Muscle Beach (1948) and Interviews with My Lai Veterans (1971) by Joseph Strick
Saturday March 5 at 7pm: The Balcony (1963) by Joseph Strick
Wednesday March 9 at 7pm: An Evening with Kathryn Ramey

Opening Friday March 4 at Ritz:

Poetry by Lee Chang-dong

Bryn Mawr Film Institute:

Tuesday March 8 at 7pm: Alice's Restaurant (1969) by Arthur Penn


The Oscars building up their fascistic anti-cinema fortress.

As I am situated at the hell mouth, last Sunday I attempted a mission. My aim was to infiltrate and spread the cinematic gospel of SW via fliers, eggs, and/or violence. The masses descended on the anti-cinematic event, that was shit down for blocks around like a warzone,  making it inaccessible for miles around. If you could get through the crowds, those who truly respect the art of cinema had to face an impenetrable literal and artistic blockade. Then after the end of the symbolic violence, I couldn't deal with living, so I put a pillow over my head and let my mind take me.

Urban shutdown, one of multiple ways film award shows abolish freedom.

The Oscars are an award show that critics, aside from the part of the year they get their only front page story, have disowned. Who should of won? For best picture either the solid Social Network or somewhat risky Winter's Bone, due to a complex performance Javier Bardem for best actor (Firth should of won for A Single Man (one of the best performances ever)), Jennifer Lawrence for leading actress because she embodies Winter's Bone, The Illusionist for animated feature because Toy Story 3 was not wholly filmic, Social Network for cinematography as it worked with and truly pushed HD technologies, David Fincher for director for making a concise and solid film (still not his best), and I Am Love should of been nominated/won for art direction because all the film was 100% beautiful art direction.

Stay down mother fucker. 

Film was shit this year. Our analysis of the show runners, Black Swan and King Speech establishes that the winners were far from the best films of the year. Fincher's output was a solid and then Winter's Bone at least constituted somewhat of a risk and of a underground spirit. Only the former though counts as something you should watch. Instead of losing sleep over the Oscar travesty, check out Joshua Martin's and my own top films of 2010. Then wait for issue 2 where we will have SW's collective top 10 that is joined by an analysis of why cinematic viewership was soul crushing in 2010.

You could also not waste your time and just start fighting for a world that is not decided by industry pay offs, but by an engaged populace who propagandize and circulate decent cinema themselves. If you make bad cinema, you will not be able to break into such a scene. Rather you will be put on trial and your verdict will be guilty. Your final goodbye apologies will work towards some relief to people who actually like movies. NO FREEDOM UNTIL CINEMA.