I saw the new Godzilla yesterday. I enjoyed it a lot, but I’ve been weirded out for months over the fact that I’ve had to call it something I’ve never had to call a Godzilla film. Just like how I recently had to call a Bond film something that, in 50 years of recasting and returning to ground zero, I’ve never had to call a Bond film.
I’m all for specialized vocabulary. Film needs its own exclusive words to describe its own processes, but ‘reboot’ is not such a word. I’ve asked people time and again to define it, and I’ve read about it online—god help me, I’ve even read the Wikipedia page for it. It’s just not a real and distinct concept. It’s a cheap marketing buzzword, that’s all it is. And more than that, the very existence of the term is symptomatic of a rot at the core of contemporary filmmaking.
Continue reading There Is No Such Thing As A ‘Reboot’
In my earliest Smug Film piece, I reviewed a movie called ATM and introduced this idea of ‘Roomies’—movies where the characters are trapped in some kind of room and the whole point is figuring out why they’re there and how to get out. Exam, The Breakfast Club, and Cube are some popular examples. Now I’m going to introduce you to Twisties, which have become quite prevalent lately.
I saw the Tom Cruise movie Oblivion in the theater by myself. I like going to the movies by myself. It’s cool. There’s something about being by yourself in the grandeur of the theater that always reminds me how much I want to make movies.
Continue reading Twisties: Why ‘Oblivion’ And Many Other Movies These Days Suck
Just a Bunch of Footage
Security camera footage is not a movie, but screened at a film festival with a name like ‘Big Brother’s Kung Fu Grip’ (or some artsy crap) it is. Andy Warhol filming the Empire State Building for nine hours is a movie—the video the real estate agent showed you of the interior of the house on Maple is not. It’s all about context and intention.
Continue reading The Idea of What a Movie Is: A Very Greg Journey Through Film