Success

 There have been articles, posts, comments about gate keeping and supporting others, bringing people up with you and I still see more of this ilk but there is also been a steady stream of commentators on success. I am well aware there is an argument for the natural decline of film criticism and the downfall of the ‘old white male critic’ in favour of diverse voices. 

Obviously, I still believe that film criticism is an important part of the film exhibition and distribution vein of the film industry as a whole. I also strongly believe that diverse voices are needed, as with most creative things, varied opinions spark conversation. And not the kind where people try to best each other, that should have no place in film, at any stage. The heinous issue about whether a film critic or film journalist is worth listening to is same conundrum as the writer has about whether a film is good or not, it is all based on opinion. Film criticism is not excluded from the age-old problem of ‘it’s who you know’. I’ve encountered this issue time and time again, but this has nothing to do with gate keeping but about cliques. If you are a lone wolf trying to succeed as a film critic you have to hustle in your own way but will find it much harder without a pack. I’ve seen various writers in the last few years ‘move up’ and have that ‘access’ that I’ve been striving for for years, but as I am not in the ‘right’ clique and I haven’t met anyone who genuinely wants to uplift others writers, such sharing contacts, invites etc, seeing others moving up makes me think this was all for nothing. We have moved on to the age of the ‘young male white critic’ and I have only seen a few women ‘move up’ in the film criticism sphere. Can a film critic remain at the same point and be content? Or are you only worth a damn if you are ‘successful’? I wonder what does it even mean to be considered successful. 

Having been writing for over 10 years about film, a degree I never used under my belt (also about film), in the last year I haven’t watched that new releases and having retreated back into my cine-shell watching my old favourites, the ones I gave a second chance and that never ending pit of straight to streaming platform. I think is it time to ease into what I’m used to and stop worrying whether I am successful or not. Unlike many film writers of the moment, I was constrained by needing to get a job and when I found that film criticism is what I wanted to pursue, it was already too late. I had my full-time job and writing about film on the side. Then there was the pressure to make money from your side hustles, which any writer would tell you is difficult. Not being able to have the same access as others who didn’t have to worry about their day job meant that I was cut out in favour of those who were students and had the time. Just like any uphill struggle I was faced with publications not wanting to give me an opportunity because I was still ‘new’. I am by far not unique in experiencing these problems, but it is disheartening when it keeps happening, even now. 

They say Film Twitter is poisonous and that is correct. But through the poison you find friends and fellow writers who don’t want to start an argument at the drop of a film release. I thought maybe the key to success looks like the number of followers going up steadily or maybe it is the precious blue tick but really it’s when you receive a box of gifts from a distributors on a regular basis and get to brag about because who wouldn’t? There are moments of joy that mean more privately than publicly. 

If being cut out of the running for opportunities due to my full-time job was bad, then being cut out because I live in London was even more crushing. This ‘postcode privilege’ that I kept hearing about but had never even benefitted from just made me feel like I was one of the perpetrators in stopping regional film screenings. Film screenings should be held around the country or at least screener should be sent out more willingly, regardless of postcode. I can’t help the fact I live in London. I grew up here and I like it (for the most part) here. It should not be a reason to discount someone JUST because they live in London. It’s infuriating. 

What I have learned over the last few years as to how to be successful is that I must live outside London, have the freedom to be able to go to any screening/interview/junket, automatically have the right access to films, have the right circle of film friends and if I’m being really honest, a man. 

If anyone is reading this and thinking harshly of me for saying such things, I can’t stop you. The realistic truth is not easy to swallow. I have come to terms with this reality many times. You might think I’ve done nothing to try harder, but I have, oh but I have. Emails, messages, meetings, promises made by others, I am still trying. It all comes down to who you know and unfortunately not what you know. 

Apologies for the bleakness, but it’s been a tough decade.

Watch List 2021

 

It’s been yet another strange year, in general and for film too. Having stopped posting my monthly watch lists, which I thought weren’t needed anymore, I didn’t want to miss out on the year round up or rather what I feel are my top films from the year. Unlike like every other year, I haven’t been able to get to the cinema as much as I usually do. Even during 2020 I managed to see the ‘big’ and festival films. This year however, with a mix of virtual and in person events, I haven’t seen all I wanted. Including not making it to all the festival films I wanted. This list comprises of those that were released this year. There are a few omitted because they are released in cinemas/online next year and will most likely appear on my list in December 2022. 

Having forced to be more select, due to availability and the films being on at the cinemas near me, I saw all these films online rather than a cinema. This also meant I missed out on more of the big blockbuster films which is why they don’t appear on my list. I absolutely loved The Suicide Squad but I felt that it wasn’t as good as the other titles on the list.

This was always going to end up on my best films of the year list, although I saw this in 2020, the film was officially released in 2021. The sheer brilliance and captivating character of Cassandra and her request for revenge is poured out HERE if you care to relive this film with me. 

Another early in the year favourite that had stuck with me throughout. A horror story with a thriller twist and fascinating character at the centre of it all. I got to talk to the director Jill Gevargizian which gave me more insight into the filmmaking and creation, which is maybe why I love this film more than other female fronted films this year. Interview in full HERE as well as the review HERE. 

As a very avid fan of Tove Jansson and her Moomin books, I was of course very excited to see a film about her life. A very specific part of her life is explored in the biopic and love hate relationship with her own creations as well as her broken heart over her first love affair. The review in full can be read HERE. 

I have been meaning to write a full post dedicated to this great film but I could never quite capture the glee and joy I had watching this film about female friendships as well as teenage rebellion that didn’t feel cliché. Plus, the use of zines and riot grrrl camaraderie was always going to be a win my eyes, personally. Directed by a favourite of mine, Amy Poehler so I knew this would have an edge to the other teen dramas before and this definitely stands out in the sea of lesser than films. 

Story aside, because who can resist a film set entirely at a wake where a young woman is trying to hide several lies, she’s told to several people, plus avoiding certain people and try to find out more about the older guy they’ve been sleeping with, all in a closed environment, its brilliantly executed but truly, it’s the soundtrack that gives this film the perfect horror like atmosphere. If you want to read more, full post is HERE. 

Based on a true story recounted on Twitter, enough said. This was either going to be a hard sell or the best film adapted from said Twitter story. There’s nothing quite like it. Read more about the film HERE. 

 

With the video nasties of the 80s as a backdrop to this sinister story about a censor who believes her long lost sister is in of these horror films, reality is blurred with hallucinations and dreams. It was great to be back in the cinema for a special event after such long time. The entire post can be read HERE. 

Having no clue what this film was about except that I had been very excited to watch it, this slow twist thriller was one that exceeding my expectations. My spoiler free as possible post is HERE. 

Like most films this was pushed back and there was a worry we wouldn’t even get this in the cinemas. A science fiction saga spectacle deserves space, especially such a story as this. Although the books by Frank Herbert have been adapted before, they hadn’t had the Denis Villeneuve treatment and going by his previous sci-fi films this was the right director to bring this story of spice, warmongering houses and chosen ones to the life. It was exciting to see such an epic back on the big screen again, perfectly timed it turned out to celebrate the 20th anniversary of The Fellowship of the Ring, the film that brought back the epic and changed the landscape of cinema. Dune feels like its going to be the start of something spectacular. 

 

I feel like I’ve been writing about this film for months (I actually have). The film that shook Cannes, the film that will shock you and all that PR jazz, this film is fantastic, do believe the hype. Read more about it HERE.

If anyone is interested, I have zines for PROMISING YOUNG WOMAN, THE BETA TEST and TITANE - message me on Twitter or Instagram (@shelikesmovies_)

Gate Keeping

There is a trend out there in every corner of any industry of any sector to help out friends and family. When this familiarity stretches to friends of friends and friends of those friends, our networks become bigger. But when someone who isn’t in our inner circles or knows someone in those inner circles approaches us, we immediately clam up and don’t want to network. The arts and media are well known for only hiring and working with people who they know and the creative industries function on ‘it’s who you know’. No matter how many schemes pop up in places to combat this insidious way of working, this is STILL the ‘way things work’. As many people know film is notorious for this trait. As much as it is said that the best person for the job gets the job, we all know that’s not true. This isn’t just the case for production. It is in every single corner of film. And I mean, every corner, including exhibition, distribution and criticism.

 

Opportunities outside of the inner circles are rare and the opportunities that are available are picked out for the lucky few that make it through the doors. Circles in every corner of the film industry pop up or you can see these cliques forming right before your eyes. This happens with criticism and programming. The same things are said; we need to be more diverse; we need to include new people; we need to talk about varied films etc. But nothing really changes. With PR companies gate keeping opportunities from those would-be critics, you end up with the same voices. Its all too often that I see writers scrounging for contacts to get screeners so they can write about films. If they’re lucky, they’ll know someone who knows someone, but that’s where the sharing ends. Websites, publications, festivals will only accept you if you have X many readers, X many followers and so on. It turns into a loop like the job search. You need experience to get a job but if no one will give you a job how will you get experience. It’s not enough to say, that’s how it is, unfair. Anyone in a position to help others should try and change this poisonous circle. It happens in exhibition as well.

 

I took part in a workshop last year with two friends during lockdown. We had met on a course a few years before and had wanted to start our own film collective. But, due to the very closed off nature of film, we couldn’t break through the wall, despite our hard work and effort. This workshop which we applied to was hopefully going to be our stepping stone. But once again, we were outsiders. While others were congratulated for their ideas, even though some weren’t strong, we were supportive. But our idea, was picked apart, stamped on, no kind words of encouragement. Fair enough we thought, we can work on this to improve it. But the plain fact was that we weren’t ever going to be selected for the final round. The gate keepers, the organisers, were looking for something very particular and our idea wasn’t it. We basically didn’t tick enough boxes for them. I know this because I’ve also worked in a place where they did the same thing. I called them out on it at the time but to no vail. At first when we weren’t selected at the workshop, I thought, that was just our luck but when the people who were picked were revealed, it made more sense. It’s difficult to convey exactly what happened and how the organisers behaved through this post. You might just think this sounds bitter but having seen this behaviour so many times at different jobs, course, events, you can see what’s really happening.

 

We are told that we shouldn’t be bitter towards those who have succeeded where we have not. We are told that our own time will come. We are told that we should celebrate those who are succeeding and cheer them on. But those are succeeding are never asked to uplift someone else. Perhaps someone who has been struggling for a long while. No, we are told we mustn’t bother them just congratulate them. If you feel angry, you can be angry. These condescending comments filtered through social platforms and random articles across the internet are the real problem not you feeling angry that you haven’t excelled the way you wanted to and for worked for. There is no need to be jealous of others but you have every right to be fed up.

UK Criterion Collection 5th Anniversary

 

Today marks the 5^th anniversary of the Criterion Collection releases in the UK. Usually, I wouldn’t make such a fanfare about something like this BUT as an avid collector I think it needs celebrating.

 

The collection landed in the UK with only a few choice titles, the cult documentary Grey Gardens, the award-winning It Happened One Night, Only Angels Have Wings, silent slapstick Speedy, and Tootsie. I immediately bought It Happened One Night as this is a favourite of mine. I already a couple of editions from the US but now I could just collect without the worry of shipping fees!

 

With releases each month, including the very fancy boxsets for Godzilla: The Showa-Era films as well as beautifully crafted editions such as The Grand Budapest Hotel and Moonrise Kingdom that came with extras that any collector would be very pleased with, the collection now has over 150 titles available in the UK.

 

Personally I’m looking forward to completing my Wes Anderson collection but I am looking forward to some Coen brothers films being released but until then Happy Birthday UK Criterion!

#Criterion5thBirthday

10 Years of She Likes Movies

On March 11^th 2011 I started a blog. I started it initially to chronicle the making of my final year film, Space Detective and then my dissertation on violence and its meaning in the Coen Brothers’ films. One of my favourite post titles, Operation Dissertation Hibernation, which was very accurate. I kept in my room writing, editing and then printing for 3 days, making an extra-large thermos of hot water so that I could make multiple cups of tea without going to the kitchen. Back then, I was still able to drink black tea. I would switch to green tea in the evenings and during the night if I decided to write later. On the fourth day I went and printed extra copies at the University (as far as I can remember) and then submitted it. It was an intense few day but the dissertation was complete. My film was complete. University was almost over. Little did I know that my blog would my constant companion, source and outlet for my writing and ultimately my gateway to other ventures. 

 

The original name for my blog was an inside joke between me and a friend and I had no intention of taking my blog any further than just writing a few silly stories, anecdotes and sharing my thoughts on films. Ever So Ethnically Confused was a place for fiction, film and reality (oh my). Through the blog and the blogging community I met other film bloggers, writers and critics. I was part of the female geek bloggers, taking part in Fandom Fridays. I was part of the Thursday Movie Picks group for a time, but couldn’t keep up with commenting and reading, there were a lot of us. I drifted away from the more fun side of blogging and tried to become more focused on writing about film. Stream lining to reviews, feature length (sometimes) posts and listicles of my own. I created my Afternoon Movie reoccurring posts as well as the VS posts and finally moved towards film festivals. But by 2016 I decided that I needed a name change and a slight redesign. I was now writing regularly for Vulturehound and an active member of the Park Circus Ambassadors Network, attending events and screenings so I needed to streamline my writing even more. She Likes Movies was my new identity. 

 

Since 2016, my blog and hopefully my writing has improved. I’ve written for more places, I’ve gained accreditation at festivals and I’ve covered countless films, either for myself and blog or other outlets, mainly Filmhounds (used to be Vulturehound). I’ve also expanded my knowledge, attending a film critics workshop, a film programmers’ course, going to more film festivals, big and small and stretching outside my comfort zone covering films in genres I wouldn’t have touched 6 years ago. I’ve also collaborated on a few pieces, done a few interviews and introduced a few films at special screenings, a particular highlight was getting to introduce The Big Lebowski at Cinema Rediscovered. On top of all this, I’ve also got to create my own zines! 

 

I said I was planning something special, ideally it would have been a screening or at least I would have tried to make than happen if it hadn’t been for the pandemic. So, instead, I created a book to commemorate 10 years of writing on my blog, 10 years of She Likes Movies.

 

 

This blog has been a big part of my writing journey, as cliché as it sounds, this blog is what got me love film again and find a pathway into what I really want to create. Although I set out to become a filmmaker back in 2011, I can return to the craft one day but at heart, I’ll always be a film critic and this blog is part of it. It’s been 10 years so here’s to the next decade of film!

 

Where Are The Originals?

In a world of remakes, sequels and franchises, we look to the rare originals out there, breaking through.

There has been so many remakes in recent years as well as sequels and franchises consisting of numerous films that feels as if there is barely any room out there for the original things to break through. I was reading this week about 'Us' and 'The Farewell' which have been two original films that broke through to the top ten US box office while the rest of the films were the usual, more of the same films. The fact that there was only two to be named was rather disheartening despite knowing full well that cinema has been in a time of turmoil of years. This isn't a dig at streaming services, as that is a whole other issue to be discussed on another post. But the steady decline of cinema attendance cannot all be blamed upon the fact that there are other ways to watch films. In my opinion, as someone who goes quite frequently to the cinema, the decline of cinema audiences is due to the cost of tickets and the lack of originality.

The cost of a cinema ticket is insane. When I was a teenager it was £5 to see a film or approximately that much, compares to now where its three times that. The fact that cinema is so expensive does put many people off. Sometimes a film is judged on whether its worth the trip and waiting for the DVD release or worse, for it become available on a streaming service seems to be the choice more and more. I know there are some people out there who illegally download films - honestly just don't as this does affect the industry, those annyoing adverts are right. Its a never endiny circle of saying its too expensive but then downloading a terrible copy of the film 'for free' just adds to the cinemas charging more money. Aside from the cost, cinema is lacking and has been ever since we entered the age of the superhero film, now a genre in its own right. I'd like to point out that I do like superhero films and I do watch and like Marvel/Disney films but they are dominating the cinema screen space.

Original stories are craved but are rarely given and when original films are given a fanfare, they are hailed by critics but audiences simply do not care. The the average audience member will see the latest blockbuster/studio offering and that's about it. Adaptations are used as a safe bet, with a built in audience who may be interested in seeing that book they read made into a film BUT even this sometimes frustrating to watch as the same books are adapted with little to no difference from the versions before. Adaptations fall between original and remake and are loved or hated, anything in between and you'd be lying to yourself.

As cinema continues to decline, the way of the world as it keeps going, there may not be any cinemas to go to anymore bit I doubt this will be for a long time, there is still hope it will become a niche things to do so there will be a market for films. As for stories and how original they are, there isn't a clear cut answer except maybe shaming the studios into realising smaller more intimate films matter. But as the whole industry runs on money, it'll be far interesting to see how this plays out when there isn't enough money to make an films.

Cinema Rediscovered 2019 Round Up

Now in its fourth year, Cinema Rediscovered in Bristol has become a staple in the film calendar, especially has it not only focuses on older films and bringing them into focus but it also pushes film criticism to the forefront. With talks and panels and the workshop for up and coming critics, the discussion about the state of criticism and what the future holds isn’t something you’d find at any other film festival. 

Screening films more well known such as ‘Kind Hearts and Coronets’ celebrating its 70th anniversary and Hitchcock’s ‘Notorious’ ahead of its re-release back into cinemas, alongside these are new documentary, ‘Filmfarsi’ delving into the near forgotten world of Iranian cinema and forgotten gems such as ‘Une Femme Douce’. They also weaved a theme within the festival exploring gluttony, decadence and resistance, screening British classic, ‘The Cook, The Thief, His Wife and Her Lover’ and French Italian classic ‘La Grande Bouffe’. 

With the Cotswold gin flowing and the film discussions abundant, the Watershed, home for the festival and as Bristol’s shining beacon for film, the festival was a great place to catch up with fellow film fans and critics alike as well as discover something new/old that you hadn’t seen before. Looking forward to next year and what the Cinema Rediscovered team create. 

Having seen ‘Notorious’ for the first time, I wrote a separate post about it which can be read HERE.

I will also being writing about ‘Eyes of Laura Mars’ which was also a first time watch for me, presented by a favourite collective of mine, The Final Girls. Post to come soon!

#CinemaRedis19  

O Captain My Captain

There are hundreds of reviews floating round the internetsphere so I won't take up your time with mine, instead I'll share a few thoughts and then dive into, why the media circus?

SPOILERS AHEAD

I haven't read the comics. I should start that for every Marvel film I write about, although I used to read a bit of Xmen. Back to Capatin Marvel. Serving as an origin story for Captain Marvel aka Carol Danvers as well as side flashback to when Fury wasn't the head of S.H.I.E.L.D and was inpired by his encounter with Danvers and the all the other, aliens, to start his avengers inititive. This really makes Danvers the centre of of the whole universe so its only appropriate that shes there in Endgame to save it.

Starting with her day to day solidering with the Kree where they make sure she keeps her powers in check, answers to her superiors and encourage her to ignore her memory flashbacks, she is in deep with this life. Although their enemy are the shape shifting Skrulls, the Kree have never been the 'good guys' so it's not so difficult to see what comes later, despite the opening group banter, which was funny. Danvers or 'Vers' as she is affectionately known as literally crash land back home after escaping the sinister Skrulls ships and memory contraption. This is a homecoming that sets the whole 'but who am I' journey in motion, while at the same time uncovering the true deception of the Kree and switching the Skrulls to the innocent party.

Captain Marvel is a superhero film so it will hit the same beats as the films before it, but it also goes against the grain. She is superpowered thanks to an accident or rather act of bravery; trying to destroy technology that is literally from another planet and honour her mentor. The origin stories of Danvers have apparently been different and usually involving a man, soilder giving him her powers, BUT in this story, her mentor is Mar-Vell, a Kree scientist trying to stop war and its Annette Benning. Fantastic cast choice, in fact the Captain is surrounded by great characters/cast, which can make or break a film.
 
There were several times where I rolled my eyes but with homages to previous superhero films and even an Indiana Jones moment, the film was what I hoped to see. A fun, comic book film with an amazing and on point 90s soundtrack, featuring a fair amount of female artists and unexpected surprise in the form of a cat that provided comedic bits galore, I was entertained. It didn't excede my expectations but I enjoyed the outcome.

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There have been a great show of support between female film critics, sharing each others reviews on Twitter. I didn't read them all but the ones I did show a variety of reactions to the film. Some loved it, others didn't, some had strong feelings about different aspects surrounding the film, others championed it, and some, well, really hated it. Even amongst the positive praise and justified critiques, I was disappointed by the circus of attention that wasn't about the character and story.

The bigger picture is that, yes, there was quite a bit of the Marvel franchise riding on whether this film would be successful or not. But looking back at the previous films, there hasn't be a film thats been attacked (both positively and negatively) in this way before. I suppose there was a fair amount of speculation around the first Guardians of the Galaxy as it was purely space set and had three main characters that were CGI but that was because there hadn't be such a heavily sci-fi Marvel film, when really, if you strip it down, its a science fiction film with a great group of characters that just so happens to be within the Marvel universe. Also, its my favourite Marvel film. But apart from GOTG, the hype has been normal. I can't be the only person to have said this, but all this fuss is just because the main character, main superhero is female and to be honest, there shouldnt be this sort of hype just because of that fact. Extra pressure is mounted on this fact alone as to whether its good or not and if it isn't its because its a women front and centre and if its good, its only because theres finally a female superhero as the main character.

This is the death that practically killed Ghostbusters back in 2016. This is the death that buried Oceans 8, although granted the hype was not big for this film, which I don't understand, that film is amazing and I'm just saying that because I watched it 5 times in a row (no joke). This the possible death that Wonder Woman defeated, but because the rest of the DC films sunk (apart from Aquaman I hear) after the sequel, who knows what will happen to her. All these film were built up with everyone half hoping they'll fail. The malicious half anyway.

There has also been a cloud of disgust surrounding critics. A barrage of outraged critics who believe what they have to say is more important. Then the backlash that women only like the film because there's a woman in it! Its reached ridiculous heights. But, again, seeing the threads of female critics sharing each others work, no judgement, no arguments, just sharing and championing each other, gives me hope that we can do this for any film and not just when there a female superheo on the poster, alone.