Use it as a diary to record your opinion about films as you watch them, or just to keep track of films you’ve seen in the past. Most impressive, as any dedicated digi-critic will tell you, is the community of commenters and fellow bloggers that have responded to Cozzalio’s work: their robust and insightful engagement lives up to Wired magazine’s Web utopianism.—Violet Lucca, Some Came RunningGlenn Kenny was once a respected critic and editor for Premiere until he became a casualty of capitalism’s war on journalism. If you don’t mind, I would like to add to this list one more movie website. When we walk out of the cinema there is nothing more delightful than spewing our own thoughts and feelings of the film we have just seen to our nearest and dearest. While the site currently focuses on technical evaluations, Tooze applies his unique analytical voice to auteurist critiques in the “Director’s Chair” section and shows off his genre smarts in the “Definitive Film Noir on DVD” resource page.—Ben Simington, Kino SlangAt once a secret history of radical cinema and a secret history of radicals in the cinema, Kino Slang is as much about politics as film. Topics range from the character of Michael Mann’s close-ups to speculation on the almost-projects of great directors, but Wright (a graduate student at Carleton University in Ottawa) perhaps shines brightest when discussing his dissertation topic: sound in modern movies. New York remains a persistent locus of attention, but current online editor David Velasco says he aims to keep “multiple venues and topics in the mix.” Recent reports have been filed on screenings of Pancho Villa-centered documentaries by Gregorio Rocha and Félix and Edmundo Padilla at L.A.’s REDCAT experimental film theater, and an exhibition of works by Ryan Trecartin, Peter Campus, Sharon Lockhart, and Joachim Koester at The Power Plant contemporary art gallery in Toronto. Free of commercial and institutional strictures, Rouge boasts an enviable international stable of contributors—Jonathan Rosenbaum, Nicole Brenez, Shigehiko Hasumi, Thomas Elsaesser, and William D. Routt, to name a few—and a remarkable commitment to the eclectic and intellectual at its most lively, relevant, and generative. A labor of love founded by Chris Fujiwara in 2006, Undercurrent is a quintessential small magazine, posting only one or two issues a year yet greatly enriching the world of film criticism. D’Angelo went on from Entertainment Weekly to write for Time Out New York and Esquire, and though the economy would eventually deprive him of those gigs, The Man Who Viewed Too Much is still around and he continues to write for print venues—the Las Vegas Weekly, Nashville Scene, and The Onion’s A.V. “We have special issues coming up on disgust and on animation,” Sorfa said [in the fall of 2009]. Inheriting a semi-academic critical approach, each quarterly edition has championed a single director or explored an aspect of filmmaking (a single shot, sound, etc.). I have made a list in Simulty: http://j.mp/ZelkSx (giving you, of course, full credit) where you can search for your film in all 10 sites simultaneously. And serious lovers of film criticism can appreciate Kenny’s regular lambasting of his two favorite punching bags, Hollywood Elsewhere’s Jeff Wells and the New York Press’s Armond White.—Evan Davis, Wright On Film Writing with a Bordwellian clarity and analytical rigor that’s perfect for unpacking the components of cinematic form, Benjamin Wright’s site is a fount of smart discourse on modern film aesthetics. Lindbergs has a terrific eye for both composition and charisma, and she’ll snatch up any topical hook to assemble impressive mini-galleries of beloved stars and directors memorialized in press photos and candids. For only $10, irlastrilla will write film criticism for your blog or website. https://movies clouds.com. In conclusion, I want to say that the content at http://viooz.as/ is provided in best quality, so you will be pleased to use this kind of movie source. The holdings of this online collection cut a wide swath, including what is apparently still the only published English translation of Rivette’s key 1961 essay “On Abjection,” concerning the morality of film style; two essential extended interviews with Rivette from 1963 and 1981 (the latter previously untranslated); and even a listing (compiled by a dogged Joseph Coppola) of all of Rivette’s star ratings given to films in Cahiers du cinéma from 1955 to 1966.—Paul Fileri, CinebeatsCinebeats chronicles “one woman’s love affair with ’60s and ’70s-era cinema.” As this informal mission statement suggests, those looking for hard historical data or deep academic readings should keep moving. November 2020. Please try this related post: very nice information bro for https://mymoviesin.com, Hello sir, Now under the stewardship of Time Out New York critic Keith Uhlich (and housed as the official blog of the outstanding online arts mag Slant), THND publishes articles on art cinema, Hollywood blockbusters, television shows, critical dialogues about bona fide classics, in-depth festival coverage, and just about anything else that interests the always perspicacious, ever evolving writing staff of Seitz and Uhlich’s venture.