"What does this all mean for the future of independent film? It used to be that big stars who did indie films were brave trendsetters. Now they are just looking for a paycheck. The studio tentpoles have made it hard for even the most most famous actors, which may explain why Kristen Stewart would agree to star in a grim drama about Guantanamo Bay. And the Independent Spirit Awards and the Gotham Awards have been slowly transforming into the Golden Globes, where the celebrity nominees overshadow the real ingenues."
Dear friends at Sundance: you can stop pretending to like all the movies there. You’re not fooling me.
I promise you: I’ll see those movies at some point. I see everything. They’re bad. They’re all bad. They had Kelso play Steve Jobs. They program anything Josh Radner puts out.
Hey! How about a terrible, mircobudget biopic of Allen Ginsberg or Joan Jett or Jack Kerouac or Allen Ginsberg again!?! Great idea! How about a preachy doc that recycles a book Michael Polan wrote 10 years ago?!? Perfect!
Spike Lee’s Oldboy marks a symbolic transition for Korean cinema as it will probably be the last of a rush of Korean New Wave remakes that once enamored Hollywood.
2013 also marks the English-language debut of three contemporary Korean masters: Chan-wook Park (Stoker), Jee-woon Kim (The Last Stand), and Bong Joon-ho (Snowpiercer, coming later this year). Kim Ki-duk’s Pieta also got a modest release.
I see this as another chapter in the story of Dae-su, Park and Korean cinema. No hate!