Movies

Examining Digital Media Habits in 2022

BPT

Despite the sizable content budgets of streaming video on demand (SVOD) services, consumers are growing more frustrated with SVOD content discovery and subscription fees. SVOD services often require consumers to juggle multiple subscriptions at increasing costs. But on social media platforms, content discovers the user, offering free passive and interactive experiences with near-infinite streams of personalized content that are continuously refined.

‘Nitram’ Is a Devastating Portrait of Isolation and Violence

D.M. Palmer

Nitram is distinguished by three outstanding but contrasting central performances. Jones has become a screen presence who evinces vulnerability and unease in equal measure, and he is sensational here. Jones conveys an inner world of rage and confusion with tremendous subtlety, lending a tragic gloss to Nitram’s childlike simplicity and blundering attempts at social engagement. It is a frank and fearless portrayal of mental illness left to its own devices.

The Satirical Story of MoviePass, as Told by Comedians

Ben Friedman

Gelfand and Roth-Rose have a natural on-air chemistry. Their jokes are quick-witted and the story is well-written. They do a great job of basing the podcast in reality for the first few episodes, allowing audiences an understanding of the history of MoviePass and its founders. In doing so, it allows the ridiculous nature of the story unfolding to feel grounded and based in reality.

Can the Golden Globes Make a Comeback?

Forrest Hartman

The controversy over the Golden Globes continues. But can the Globes make a comeback? In a new Highbrow Magazine video, longtime Highbrow Magazine writer and respected academic Forrest Hartman discusses the ongoing controversy surrounding the Hollywood Foreign Press Association, and wonders when and how the Golden Globes will regain the respect of the industry.

Studios Should Respect Filmmakers’ Vision and Not Restrict Their Artistic Efforts

Garrett Hartman

Some have blamed Whedon for the failure of the original film. However, many of the fixes to the film's biggest issues come in the form of the two hours of additional footage. It seems unlikely that Warner Bros. would have approved sending out a four-hour film regardless of which director was behind it. The problem with Justice League was never Whedon or Snyder; the problem was with Warner Bros. itself. 

‘Lapsis’ Paints a Picture of a Realistic but Grim Future

Ulises Duenas

While director Noah Hutton does a great job of illustrating the world he’s created through small scenes that show you how disingenuous the cabling company is and how desperate people are to make some extra cash, the film is still lacking. On one hand, Hutton replicates the dialogue and actions of human beings quite well. On the other, he does it so well that it becomes dull. The whole movie feels like a pilot to the miniseries.

Wars Fought, Scores Settled in Oliver Stone’s ‘Chasing the Light’

Lee Polevoi

The child of a doomed marriage, Stone vividly describes the domestic turmoil of his early years in New York and Connecticut. The restless son of a stockbroker and a vivacious French woman, Stone attended Yale, but dropped out and enlisted in the Marines at the height of the conflict in Vietnam. His experiences there, together with a sobering return to the States, were channeled into the making of Platoon, which remains among his signal achievements.

A Day in the Life of a Film Critic

Tara Taghizadeh

There have been other changes as well, and I ultimately see most as neutral. It’s easy to say, “Films used to be better,” or, “They don’t make ’em like Gone With the Wind anymore.” But it’s important to remember that we tend to view film history with rose-colored glasses. We remember the gems and forget all the trash. Today, we have more content than ever before and — accordingly — more garbage. But we also see a number of really fantastic movies released every year. 

Buyers Jockey for Indie Films at Sundance

Piya Sinha-Roy and Lisa Richwine

Evolving movie-watching habits have brought new buyers in recent years, with Netflix and Amazon.com Inc leading the march of digital outlets to Sundance. The streaming services had started to outbid Weinstein Co for standout films. Filmmakers prospered as Amazon paid $12 million for “The Big Sick” and Netflix paid $12.5 million for “Mudbound” in 2017. This year, it was unclear whether those outlets will replace Weinstein as the pacesetters.

'The Greatest Showman' and the Problem of ‘Exploitainment’

Adam Gravano

The Greatest Showman takes the second perspective. These aren't just “freaks.” Yes, the draw is their perceived defects and differences, but what would they be without them? Why shouldn't they take pride in these and showcase them to the world? Is this even right? Is it being done in such a way as to appeal to the coarse and base in us? The question should remain unanswered, as there's plenty of exploitative media to go around for the able-bodied and sound of mind as well: every cable news confrontation, the entire reality television niche, and the revelations of #MeToo lay bare an industry to which Barnum would hardly be a stranger — perhaps even unreconstructed. 

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