is back, but…

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I guess I didn’t plan this accordingly. I got a bit blindsided with the impatience of getting away from my previous hosting site and their Ultimate Plan which was priced a bit too steep for me that I didn’t stop to think about backing up my work. In the end, I lost a total of 400 entries, many which contained multiple reviews as I tend to go to at several film festivals throughout the calendar year. However, on the plus side, it’s not like these writings were at the level of, let’s say, Pauline Kael or Dorothy Parker. [Perish the thought! I think I may have heard them rolling in their graves, the poor dears.] No, many were downright perfunctory and I’d even say borderline awful. I’d blame the fact that I can believably sit down and do movie marathons for both new releases and home video releases as well as what’s playing on art-house apps like MUBI or Criterion, so in the end, unless it’s a classic that requires a bit more analysis, the reviews are kept to the point, concise, and at a word limit of about 500 – 700 per film.

Lesson learned — back up your work. On the bright and busy side, you would think that February would be a dead or slow month for movies but with festival features releasing direct to streaming platforms left and right it seems that the niche is saturated more than ever. Not sure how this one, this Accidental Cinephile, will manage. Opening February 12 — tomorrow, as per this writing — there are a bundle of movies opening, from Lee Isaac Chung’s critically acclaimed Minari (which made its premiere at the Film Society of Lincoln Center last December for a one-week run), Shaka King’s Judas and the Black Messiah, and the much-anticipated film by Rose Glass… Saint Maud. Still playing on virtual platforms are five entries for Best International Feature Film for the 93rd Academy Awards: Italy’s Notturno, directed by Gianfranco Rosi; Hungary’s Preparations to be Together for an Unknown Period of Time by Lili Horvát (2014s White God); Filippo Menechetti’s lesbian-themed drama Two of Us, representing France; Andrei Konchalovsky’s Dear Comrades!, Russia’s submission, and Denmark’s Another Round, directed by Thomas Vinterberg (2013’s The Hunt).

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