Runaway movie costs and star salaries that often bloat them even more is also a post —in fact, post —phenomenon. It was produced in Such blatant conspicuous consumption disturbs us on a level far more basic than just how much we paid for our movie ticket. Oh, the wretched excess and utter waste of it all!
All indicators are that the movies will not be getting, collectively, any better any time soon. Skip to content Search for:. My Bloody Valentine: 13 March — London. The Teleportation Accident by Ned Beauman. This is only partly true, but if you are a young writer with a great idea, you can have more control and make a better film if you take it to one of the big cable-based networks, or the new mini-majors like Netflix.
If you produce it yourself, you also make more money. You won't get the huge budget of a tentpole movie, but you might reach more people. Big TV screens are the new picture shows, and you never have to leave home for quality drama. Mark Wahlberg will reprise the role of inventor Cade Yeager in Transformers 5. Credit: Andrew Cooper. The bloody internet. Hollywood once had all the eyeballs. From the s to the s movies and radio were the only mass entertainment.
Television stole half of that, but movies came back slugging with 3D and cinemascope. They're trying to do the same thing now with Imax 3D and giant spectacles on the screen, as well as on your face , but nothing can compete with the internet, where you can watch what you want all the time and for very little or no cost. Internet porn, gaming and free pirated movies — on your phone, your pad, or your PC.
The cinemas are rank. From George Street to Leicester Square, going to a movie is often a diabolical, not to mention expensive, experience.
Projection standards are terrible because the exhibitors got rid of the projectionists; there are no ushers if you want to complain, and many people refuse to turn off their mobile phone. And who can blame them for texting when the movie they're watching is so bad?
Once the connection with audiences is degraded, the behaviour follows suit. Cinephilia is dead. Quentin Tarantino would say that one reason the movies are in trouble is that they have abandoned film in favour of digital shooting and projection, and digital doesn't have the same appeal to the eyes.
That is why he is paying cinemas to install millimetre projectors for The Hateful Eight out in January. In a wider sense, the history of movies was once hard to acquire. That made it cool to be a cinephile who had seen all the early works of Godard. The great films are now more accessible than they have ever been, so less cool. I'm not sure I buy these arguments, but it is certainly true that cinema is less appealing to the young and hip than it once was. Maybe that is the films they are being offered?
The movies are all the same. This is true if you only go to the big cinemas. There is a huge range of great movies we are not seeing in those venues. Even the art houses choose conservatively French, Italian, anything with Judi Dench. Repertory cinemas once flourished in places that had a good student population, like the inner-west of Sydney. In Melbourne, they still do. There are signs of new life in this area, in smaller funkier places like The Golden Age cinema in Sydney.
We can only hope. Why Hollywood movies are so bad. Please try again later. The Sydney Morning Herald. By Paul Byrnes December 8, — 3. Save Log in , register or subscribe to save articles for later. A few years later, the television series Mystery Science Theater made text of this subtext: Its framing device consisted of a man and two robots cracking wise over the soundtrack as bad movies played onscreen.
Watching bad movies was a social yet marginal activity; it was a way of watching that orbited the normal enjoyment of film. On the satellite where bad-movie watchers gather, it is our Citizen Kane , our Seven Samurai , and in the ages before Amazon, you had to really search to find it. Its ineptitude was legendary. The flying saucers are clearly flaming paper plates; the actors keep pointing their prop weapons at themselves, or each other, having forgotten to pretend that the plastic objects in their hands are supposed to be guns.
To a child, the adult world is oppressive in part because of its apparent competence, its air of knowing what ought to be done and when and what to call everything. The unending, dogged, elaborate, even painstaking failure of Plan 9 —the way it seems to go out of its way to fail—was tonic to the imagination, a kind of carnivalesque reversal. I needed to see adult inadvertence, and name it as such; I needed to observe the little hole it made in the world.
I read treatises on aesthetics; I pondered greatness. It became important to me to assume an authority of my own, to know what I was doing. By what criteria? How do I know those are sound criteria? You developed the ability to discern it by thoughtfully comparing one work with another.
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