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Geek Vibes Nation
28-05-2025
- Entertainment
- Geek Vibes Nation
So You Wanna Become A Movie And TV Critic? OK, Here's How You Do It
Was The Last Jedi a masterpiece or a dumpster fire? The one with the insight to have a informed, knowledgeable opinion is a movie critic. Same for TV. Becoming a critic isn't just about watching TV and movies and tossing out hot takes. It's about sharpening your mind, finding your voice, and convincing people you've got something worth hearing. Let's break down how to make it happen, with a dash of humor and some real-world wisdom. First off, you've got to watch everything. I'm not just talking about binging the latest Netflix series or catching every Marvel flick in theaters. To be a legitimate critic, you need to dive deep into the cinematic ocean — classics, indies, blockbusters, foreign films, even those weird experimental shorts that make you question reality. Think of it like training for a marathon: you don't just run one mile and call it a day. You've got to build up your stamina. Take someone like Pauline Kael, the legendary New Yorker critic. She didn't just watch Citizen Kane and call it quits. She devoured films from every era and genre, from silent movies to gritty '70s dramas, and it gave her reviews a depth that made people sit up and listen. Start building your mental library now. Watch Parasite one night, then pivot to The Godfather, and maybe throw in a random episode of The Great British Bake Off for balance. But watching isn't enough. You need to understand what you're seeing. This means learning the nuts and bolts of filmmaking. You don't have to go to film school (though it doesn't hurt), but you should know the difference between a jump cut and a dissolve, or why lighting can make or break a scene. Did you ever notice how Roger Ebert could pinpoint exactly why a movie worked or didn't? He'd talk about pacing, cinematography, or how the sound design made your heart race. That wasn't just him showing off; it was him proving he knew his stuff. You can pick this up through books like Film Art by David Bordwell or even free YouTube channels like Every Frame a Painting. The goal is to see past the surface and figure out why a story hits or misses. Now, let's talk about finding your voice, because nobody cares about a critic who sounds like a robot spitting out Wikipedia summaries. Your voice is your secret sauce. It's what makes people read your review instead of scrolling past it. Are you snarky like David Edelstein, who could skewer a bad rom-com with a single sentence? Or maybe more like A.O. Scott, blending wit with big-brain cultural analysis? Experiment with your writing. Start a blog, post on X, or even just scribble in a notebook. Write about why Barbie made you cry-laugh or how The Bachelor is secretly a masterclass in editing. The key is to sound like you, not a generic movie review generator. Find your angle and lean into it. Speaking of writing, you've got to do it. A lot. Being a critic is like being a chef: you don't get good without chopping a few onions. Start small. Review movies for a local paper, pitch to online outlets like Paste or Vulture, or even self-publish on Medium. The more you write, the sharper your insights get. And don't be afraid to take risks. I read that someone pitched a piece comparing Mad Max: Fury Road to a Beethoven symphony. The editor thought he was nuts, but it landed him a gig because it stood out. Rejection is part of the game, so keep pitching even when it feels like you're shouting into the void. Networking is another big piece of the puzzle. The film and TV world thrives on connections. Attend film festivals, even virtual ones, and chat up directors, writers, or fellow critics. Follow industry folks on X and engage with their posts, without being a creep, of course. Relationships open doors. Plus, being part of the conversation keeps you in the loop on trends, like why everyone's suddenly obsessed with A24 horror films. You'll also need a thick skin. Critics get flak. Sometimes it's from fans, sometimes from filmmakers who think you've missed the point. When The Last of Us series dropped, critics who didn't love it got roasted online. Stay confident in your perspective, but be open to debate. A good critic doesn't just dunk on things; they spark discussion. If you're getting hate, it means people are reading you. That's a win. Finally, stay curious and keep learning. The best critics, like the late Roger Ebert or contemporary voices like Angelica Jade Bastién, never stop exploring. Read about culture, history, even politics, because films and TV don't exist in a vacuum. A show like Succession isn't just about rich people yelling; it's a mirror to our world. The more you know, the richer your reviews. So, there you go. Becoming a film and TV critic is about watching widely, thinking deeply, writing boldly, and staying connected. It's not an overnight thing, it's a craft. But if you love stories and have something to say, there's nothing more thrilling than helping people see their favorite shows and movies in a new light. Now grab some popcorn and start critiquing. The world's waiting for your take. If, down the road a piece, you decide to become a filmmaker, look into the screenplay writing services offered by Ghostwriters Central, Inc. You provide the idea, they do the writing, and you save tons of time. And with any luck, once it hits the theaters or TV, the critics will be kind to you.
Washington Post
22-05-2025
- Entertainment
- Washington Post
A look at the best and worst of the teen movie genre
In a way harsh takedown of the formative 1985 teen movie 'The Breakfast Club,' New Yorker critic Pauline Kael took aim at one of the genre's most enduring tropes: the misunderstood teen. It's an article of teen movie faith that adults are what's wrong with kids, Kael pointed out. Inevitably, the protagonists are victims of parental indifference. Or abuse. Or helicoptering. (She didn't say helicoptering.)
Spectator
12-05-2025
- Entertainment
- Spectator
Trump's film tariffs will hurt, not help, Hollywood
Observers of the American film industry have been fretting about its prospects for almost as long as it has existed. They questioned its viability in the wake of television, bemoaned the impact of the studio system on creative freedom, lamented the rise of the blockbuster, wondered where the blockbuster had gone, and pronounced that streaming and Covid would kill off moviegoing. Now Donald Trump has designated the decline of Hollywood 'a national security threat'. A presidential proclamation on the future of movies. The best Pauline Kael could ever do was 5,000 words in the New Yorker. Industry insiders are bemused by this abrupt show of solidarity from a political party that usually pronounces Hollywood to rhyme with 'Sodom and Gomorrah'.
