The best movie culture writing from around the internet-o-sphere.
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“Post-credits scenes keep getting worse, must be stopped” — Matt Singer at The Dissolve gets anti-stinger on the idea of placing a single disconnected moment on the end of an otherwise complete film.
“Thanks to indecipherable post-credits scenes, theater lobbies after screenings of movies like Days Of Future Past have become the sites of impromptu geek lectures, where comic fans hold court while decrypting otherwise incoherent cookies and stingers. Sometimes it feels like these teasers are less about promoting new movies than reassuring geeks that while their beloved properties have gone mainstream, they still, at heart, belong to them and their vast stores of knowledge—because without their hand-holding, average viewers would be lost. But if something needs to be nerdsplained to the vast majority of viewers, then maybe it shouldn’t be there in the first place.”
“Post-Credits Scenes Are Fine, And There Should Be More Of Them” — Devin Faraci speaks up from the theater lobby.
“Film of the Week: Night Moves” — Jonathan Romney at Film Comment breaks down Kelly Reichardt’s ability to imbue quiet moments with tension.
“Maleficent” — Walter Chaw at Film Freak Central critiques a Disney movie that fails when it’s doing Disney. And also apparently hates men.
“In Maleficent, Why is Angelina Jolie Hung Up On Some Loser?” — Amy Nicholson at LA Weekly calls the movie on the carpet for espousing feminist ideals while featuring a main character who loses her goddamned mind when a pretty lame guy rejects her.
“Mel Brooks Remembers the Funniest Movie He Ever Made” — Jason Guerrasio at Esquire interviews the legendary comedian about punching horses, and just go read it already.
“Cannes 2014: A Debate” — Michal Oleszcyzk and Ben Kenigsberg at RogerEbert.com discuss the movies d’Or this year. The surprises, the jaw-droppers and more.