Movie Fans

Almost Famous

Last weekend I was up late and noticed a 16-year-old follower of my Facebook page (and aspiring filmmaker) had a shitty night. He lived a nightmare we all had inside of us during high school. He was a sacrificial lamb in a demented prank from kids who he never threatened and never wanted to see get hurt the way he was. Bullying is a popular subject these days. It’s one I went through for four years, and it was so bad that on my first day of college I lied to my first friends about my high school experience. I haven’t really let it out there until reading a 16 year old kid expose his wounds online. This was my message to him. I’m sharing this letter in case others might find it useful.

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Swanberg Fantastic Fest

In 2009, I got a day job at a credit union because the credit card companies started rejected the cinquain poems I wrote them as payment for some reason. The site was in its salad days, but for all the keeping my head down I did from 9-5 (right next to Brian Salisbury, it should be noted), I’ll never forget what happened when a colleague found out late in the year that I wrote about movies. “I cannot wait for Tooth Fairy. The one with The Rock. I just love him!” she said, acting every bit as excited as if I were The Rock and had just agreed to sign her wrist so she could get it tattooed over. It wasn’t a long conversation, and my gut reaction made me feel like a snobbish prick. I couldn’t reciprocate the feeling even as I struggled to appreciate it, but her pure joy was a nice reminder that there are all kinds of movie fans out there and that movies have always belonged to them. In differing ways, neither Andrew O’Hehir at Salon or Devin Faraci at Bad Ass Digest seem to recognize that.

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At a Regal Cinema in Rensselaer, New York, the price for a regular showing of The Lorax is $7.75 while the price for the 3D version of the movie is $13.75. That’s a considerable up-charge, and it’s one that consumers and film fans have gotten used to. Either you swallow the bitter pill of renting plastic glasses for an addition six bucks or you stick with the traditional 2D model to avoid the headache. Now, according to Joe Paletta, the CEO of Spotlight Theaters – a regional theater that has a handful of operations in Georgia, one in Connecticut and one in Florida – has written a brief piece for Screen Trade Magazine in which he states that they’ll most likely be folding the price of 3D tickets into the regular ticket prices. “Among the bigger changes will probably see the 3D-upcharge disappear. 3D charges will help increase the overall ticket-price but, as an industry, I think we’ll see a blend begin to emerge in 2012, where patrons will have a single price for both 2D and 3D films. 2D prices will increase and 3D prices will decrease.” My emphasis there is meant to spotlight the reality of the situation. What this means is that instead of paying $14 for 3D tickets or $8 for 2D tickets, everyone will end up paying $11 per ticket to split the difference. Now, clearly this won’t be across the board change, and Spotlight isn’t a giant outfit but it’s certainly an idea that […]

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Shannon Shea has done special effects work on over sixty films. From Evil Dead II to Predator. From Dances With Wolves to Jurassic Park. From In the Mouth of Madness to Sin City. Every week he delves into his personal and professional history to tell the story of how he became a monster that makes monsters. So there I was, in a small conference room in Woodland Hills, California on a warm February afternoon in 2009. I knew that the meeting would go long, and I would have to spend at least an hour driving home to Los Angeles. Sitting next to me was Mark Dippe, Industrial Light and Magic alumnus and director of the movie Spawn, and across from me sat Dean Cundey, the guy that not only shot all of John Carpenter’s early movies, but also shot Jurassic Park and Back to the Future just to name a few. At the end of the table was producer Tom Kiniston; I had worked with Tom on the Tremors TV series, and next to him was Brian Gilbert, formerly of Stan Winston Productions. The director was Brian Levant, whom I had never worked with personally. However I was familiar with him because I was representing KNB EFX Group, and KNB had made the Turbo-Man Suits for Jingle All The Way, a Mr. Levant effort. We, along with other department heads had gathered to discuss Scooby Doo and the Curse of the Lake Monster. As we began to go through the […]

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We here at FSR pride ourselves on speaking with authority. It doesn’t always happen (especially when I’m writing about Inception after drinking three boxes of wine), but it’s the goal we strive for. We’re bursting on the brink of boastfulness to provide a service most other film sites don’t offer – the ingenuity and odd creativity of our team of writers. Our readership is up 46% this year and that’s thanks in a major way to our fans, to the fourth box of wine, and to these features and editorials. If you missed them the first time, enjoy adding your two cents. If you’re catching them for the second time around, feel free to flame on for old time’s sake. (Click on any of the titles below to read the full articles.)

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