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Dark Shadows ***
Darling Companion **1/2
God Bless America ***
Marvel's The Avengers ***1/2
ReGeneration ***
Sound of My Voice ***
The Pirates! Band of Misfits ***1/2
The Raven ***
Safe **1/2
The Lucky One 1/2*
4:44 Last Day on Earth **1/2
Blue Like Jazz **
The Cabin in the Woods ***1/2
Damsels in Distress ***1/2
Lockout **1/2
The Three Stooges ***
The Turin Horse ****
We Have a Pope **1/2
American Reunion **
Goon ***
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Bird of Paradise
Maniac Cop
Miss Representation
Mother's Day (2012)
Murder Obsession
Tim and Eric's Billion Dollar Movie
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Clueless
Haywire
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Film Features

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2011: The Year's Best Films
Year's Best DVDs and Blu-Rays
San Francisco Film Critics Circle Awards
The Decade's Ten Best Films: 2000-2009
My Top 100 Films [Updated]
My Top 60 Directors [Updated]
Christmas Movies
Essential Halloween & Horror Movies
Cult Movies
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Film Books

Have Yourself a Movie Little Christmas, by Alonso Duralde
Not Quite a Memoir: Of Films, Books, the World, by Judy Stone
James Agee: The Library of America Collection, by James Agee
Just Making Movies, by Ronald L. Davis
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The online film magazine Combustible Celluloid offers new movie reviews, DVD reviews, film reviews, actor interviews, actress interviews, director interviews, film books and all things cinema related for the thoughtful and passionate. Online for ten years! Over 3000 reviews!

 
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© 1997-2012 Combustible Celluloid



Movie Wars, by Jonathan Rosenbaum

Review by Jeffrey M. Anderson

Buy Movie Wars: How Hollywood and the Media Conspire to Limit What Films We Can See, by Jonathan Rosenbaum

Jonathan Rosenbaum's "Movie Wars: How Hollywood and the Media Conspire to Limit What Films We Can See" (A Cappella Books, $24, Hardcover) is bound to reach only a small audience of devoted cultists, but it's an eye-opener nonetheless. In a series of essays, on topics ranging from the American Film Institute's Top 100 list to the reception of Joe Dante's Small Soldiers, Rosenbaum -- one of America's great film critics -- dissects the film business and the values of the American public with an acute eye. He deconstructs the giant distribution company Miramax and explores the recent resurgence of interest in Orson Welles.

The conclusion -- that audiences, critics and distributors alike don't have as much choice in what they see as they think they do -- is a bitter pill to swallow. But one feels better waking up to the truth rather than keeping the blinders on.

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