Luckily, Steven also checks his email from time to time, and he was more than willing to participate in this special Halloween edition of Critical Juncture. In case you’re new to this series, Critical Juncture asks a dozen indentical questions to members of the critical community, allowing you to compare and contrast their answers. When you’re done here, be sure to check our archives for even more interviews in the series.

Ladies and gentlemen…Steven Davies.

OnlyGoodMovies: What’s the first movie that you remember seeing?
Steven: Mmm, that’s not easy to remember. I do, however, recall my first cinematic experience. And that was Big Trouble in Little China, which, in 1986, was incredibly just PG-rated here in the UK at the time. Maybe my first taste of horror elements and the truly bizarre?

OGM: What’s the most recent movie you’ve seen?
Steven: The Final Destination. It’s one of the few movies I skipped when it was in cinemas and on DVD and decided just to wait for it to arrive on cable. Glad I didn’t spend any money on it, as it was about as original as my Ramones t-shirt. Non-horror would have been Ali G in da House.

OGM: Is there a particular film that you feel is criminally underrated?
Steven: Frank Oz’s 1986 version of Little Shop of Horrors. Hands down best musical ever! I always feel that District 9 should have been received slightly better, too. I think horror remakes get a bad rap, too. If you sift through the shit you can always find an admirable gem. Alexandre Aja’s The Hills Have Eyes or Zack Snyder’s Dawn of the Dead.

OGM: Which director do you feel has turned out the best overall body of work?
Steven: Without a doubt, the late, great Stanley Kubrick. Taking on a multitude of genres, displaying incomparable creativeness and provoking visuals. A true powerhouse in cinematic history. Alfred Hitchcock follows a close second.

OGM: From an artistic standpoint, which film do you think is most important?
Steven: 2001: A Space Odyssey – Kubrick’s finest hour. Absolutely light-years ahead of its time. Truly turned science fiction on its head. For the horror genre, you need a catalyst movie from time to time for others to feed off of. And every now and again you get one; Night of the Living Dead, The Exorcist, Halloween, The Shining, Scream, The Blair Witch Project. Just think of the “other” movies that wouldn’t be around if it weren’t for these.

OGM: All artsy considerations aside, which movie is your personal favorite?
Steven: Jaws. Without a shadow of a doubt, always has been. It’s fun, entertaining, tense and brilliantly acted. I do also love Fargo, Pulp Fiction, 2001: A Space Odyssey, Fight Club, Donnie Darko and a ton of horrors – too many to mention.

OGM: In your opinion, which film is entirely overrated?
Steven: Inglourious Basterds – despite good performances, I still can’t stomach repeat viewings. Controversially, I also have issues with The Godfather. And don’t get me started on the sandy ass-fest that is Gladiator.

OGM: Have you ever walked out of the theatre during a film? If so, what movie was playing?
Steven: I’m there to the bitter end. No matter how bad it gets, I can’t bring myself to abandon any movie before it finishes. I think it’s better to berate a movie critically if you have seen every single second of it.

OGM: In your mind, what’s the ultimate goal of a movie critic?
Steven: To bitch about movies that don’t meet our personal standards and to praise the pretentious. Attitudes change though, and all critics’ opinions should be taken with a pinch of salt. One man’s over-the-top action flop is another man’s Oscar-worthy fun-fest.

OGM: Time to look into the future. Do you predict any major changes for the movie industry over the next 25 years?
Steven: For how quickly 3D has taken over our local multiplex it surely won’t be long before an even bigger visual treat will kick it to the back row. Perhaps holograms? Perhaps 360 degree movies? Perhaps we’ll return to William Castle-like interactive cinema experiences!

OGM: Here’s another chance to predict the future. Name a relatively unknown actor or actress who’ll be a huge star within five years.
Steven: Even though he’s been on TV forever, Michael C. Hall can make one hell of an impact if he chooses the right roles. I see big things for Brit actress Talulah Riley as well. There’s also Kick-Ass stars Aaron Johnson and Chloe Moretz. Joseph Gordon Levitt is absolutely fantastic, also. He’s done the independent stuff and now gets a bit of mainstream work here and there, but he is surely a future Oscar nominee.

OGM: Who’s your favorite movie critic to read?
Steven: I absolutely love British critic Charlie Brooker. No-holds-barred, down-your-throat reviews verbalized brilliantly in his Screenwipe TV shows. He’s like a bitter, middle-aged man who generally says what most of us are thinking.

If you’d like to learn more about Horror Asylum, be sure to head over to Facebook or Twitter. It’s the perfect place to connect with gorehounds and people who like torture porn just a little too much, and you’re bound to run into Steven Davies along the way.

Until next time…

Paul Castiglia of Scared Silly

Carrie Rickey of The Philadelphia Inquirer

Mike Rot of Row Three

Paul Castiglia has been sharing his views on pop culture for over 20 years, and he’s also been a writer and editor of comic books. If you’ve ever picked up a copy of Archie’s Weird Mysteries, based on the animated series of the same name, then you’ve read the work of Paul Castiglia.

And be sure to keep an eye out for Paul’s book, also known by the title Scared Silly. Classic horror-comedy films will be examined in even greater detail, as well as low-budget gems and short subject spoofs. And to top it off, Daniel Roebuck will be writing the forward. You might know Roebuck from his role as Jay Leno on The Late Shift or dynamite expert Dr. Arzt on Lost. But he also happens to be a collector of monster movie memorabilia, as well as a spook show reenactor.

And if Paul wasn’t already cool enough, it just so happens that his dad is the godfather of this guy…

That’s right, horror music fans…it’s Jerry Only of The Misfits. That gives Paul some major horror credibility, even if he doesn’t sport a Devilock or play bass guitar.

Now onto the questions…

Only Good Movies: What’s the first movie that you remember seeing?
Paul Castiglia: Boy that’s hard to say. My parents used to take us to the drive-in. I guess the earliest film I can recall that had the biggest impact on me was Disney’s Pinocchio. And it’s still in my top 10 to this day!

OGM: What’s the most recent movie you’ve seen?
PC: Inception. (OGM NOTE: It took me a little while to get this interview posted, so Paul has undoubtedly viewed more current films.)

OGM: Is there a particular film that you feel is criminally underrated?
PC: Wow, where to start? That’s a really tough one to answer because I’d have to ask who is doing the rating? You know, a majority of critics may rate a film one way but fans of that genre may totally appreciate the same film. Let me think about that and if one film pops up that I feel can fit the criteria I’ll answer this question at the end.

OGM: Which director do you feel has turned out the best overall body of work?
PC: From the golden age, I’d go with Stan Laurel, Billy Wilder, Preston Sturges and Alfred Hitchcock with Orson Welles, Jacques Tourneur, Frank Tashlin and Mark Sandrich as honorable mentions. I also have to cite James Whale for his classic horror films (I’m not familiar with his musicals) and Edgar G. Ulmer simply for the Lugosi-Karloff Black Cat and the zero-budget noir classic Detour. Come to think of it, I might as well throw animation directors Tex Avery and Bob Clampett onto my favorite directors list, too. The ‘40s and ‘50s noir directors are also high on my list, including Jules Dassin, Fritz Lang, Edward Dmytryk, Otto Preminger, Robert Siodmak and especially Phil Karlson among several others. Gimmick-king William Castle is a huge influence on me. The Vincent Price movies directed by Roger Corman and the Peter Sellers movies directed by Blake Edwards also inspired me. From the decade I grew up in–the 1970s–well, Spielberg and Lucas were of course the kings of fantasy-adventure and I loved the comedies of Woody Allen and Mel Brooks. I got into Scorsese a little later (wasn’t allowed to watch most of his work when I was a kid, naturally). Bill Forsyth and Joe Dante were pretty much “it” for me in the 1980s. From more modern times I’d say Christopher Nolan, Edgar Wright, Stephen Chow and Tyler Perry with Danny Boyle, Sam Raimi, Steven Soderbergh and Peter Jackson as honorable mentions. The honorable mentions are those who I feel haven’t been quite as consistent overall. One who hovers between best and honorable mention for me would be Wes Anderson, depending upon what day it is. You can see that in general I lean toward the helmers of genre films like comedy, horror and noir, as well as directors whose films are personal, individualistic works.

There are also a lot of indie and foreign films I’ve dug over the years, but I simply can’t remember all the names of the directors. And if I may be indulged, I’d like to just prop up the Pixar team as a whole–their writers, directors, producers, animators, etc.–for making the most consistently well-crafted movies, period. I often say that if only the Pixar writers were employed to write the majority of live-action films that come out each year, we’d have much more better movies to choose from!

In general, if I can do it by genre, the classic comedies, film series (especially the mysteries like Sherlock Holmes, Charlie Chan and The Thin Man and adventure fare like Tarzan) film noirs and horror films from the 1930s, ‘40s and ‘50s are a body of work unto themselves that is probably more consistent than anything else. Heck, throw comedy shorts and animated shorts from those years into that mix and there has never been anything better in my opinion. I’ll square off just about any film noir movie of yesteryear against the highly touted films of today and, for me, the oldies will trump the new productions in every category.

OGM: From an artistic standpoint, which film do you think is most important?
PC: Carol Reed’s The Third Man. I consider it the best movie ever made, the film that most perfectly uses the language of film to tell its tale. However, while I consider it the best ever made and it’s a film I enjoy watching over and over, it is not my personal favorite.

OGM: All artsy considerations aside, which movie is your personal favorite?
PC: Bill Forsyth’s Local Hero–which I consider transcendent. It has its down-to-earth side but legitimate claims can also be made for its artistic achievements. It’s been my favorite movie since I saw it on its initial release–no movie has ever supplanted it for me and I’m confident none ever will.

OGM: In your opinion, which film is entirely overrated?
PC: There are many, but I’ll go with a relatively recent one, from a director I put into the “honorable mention” category above. It is actually this director’s most acclaimed film: Danny Boyle’s Slumdog Millionaire. I actually found his film Millions with similar themes to be much more enjoyable and impressive than Slumdog.

OGM: Have you ever walked out of the theatre during a film? If so, what movie was playing?
PC: I never did–I figure once I’ve paid for my ticket, I’ve made the commitment to stick with it no matter what follows. Although I was mighty tempted to walk out during Batman & Robin (the glossy Schumacher disaster with Clooney, Ahnuld and Uma). However, one of my favorite stories involves me witnessing someone else walking out on a film: while watching The Gods Must Be Crazy, one man in the audience couldn’t get through the “straight” documentary style opening. He shot up out of his seat exclaiming “the paper said this was a comedy–I’m getting my money back,” and stormed out. As soon as he left, the Coke bottle hit the bush man in the head and the comedy was non-stop after that!

OGM: In your mind, what’s the ultimate goal of a movie critic?
PC: I think each critic will answer that differently. Here’s what I’ll say about movie criticism. First, try not to give away the entire story and certainly don’t give away any surprises. Second…and this goes for anyone who watches movies, not just movie critics–remember that ultimately the only review that counts is your own! We’re not all going to react the same way to movies. There are a lot of movies I like that were panned by critics, and I know I’m not alone. And it works the other way, too–there are plenty of movies I didn’t like that were embraced by audiences and/or critics.

For my Scared Silly: Classic Hollywood Horror-Comedies project, I’m trying to share my feelings on the films first and foremost–what did I like, what didn’t I like. Secondly I’m taking into consideration each film’s place within the conventions of that particular genre. It kind of goes back to your question about which films are underrated. In a standard movie review guide films like Sh! The Octopus, Ghost Catchers and Zombies on Broadway won’t get high marks, but as classic horror-comedies with some novel touches they get high marks from me.

OGM: Time to look into the future. Do you predict any major changes for the movie industry over the next 25 years?
PC: This is a question I’m not happy to answer, because I think we’re already seeing the change. It’s not even a new change–it’s the ever widening gulf between the “assembly line films made by committee” and those more personal film statements. There are some folks bridging the gap like Christopher Nolan, Peter Jackson and James Cameron–who are given the money to buy the resources to make big budget entertainments that also have brains and that’s a good thing. But history has a way of repeating itself. When Laurel & Hardy left their rather autonomous situation at the Hal Roach Studios to work for big boys 20th Century Fox and MGM in the 1940s, they found themselves saddled with scripts they (at least in the beginning of their tenure) were not allowed to alter. They would implore those studios to give them better stories and in turn the studios would tell them not to rock the boat, reminding them that the films were making great money even without great stories. Now understand that some of my favorite movies are big, dumb cheesy no-brainers, but I want that kind of film to be the exception, not the rule. It’s always my fear that the majority of big blockbusters will ultimately become mindless CGI exercises to the point that the studios will forget about story. Right now we have Chris Nolan and the Pixar guys offering the stories to go along with the spectacle, but will we always? Will the studios get to the point where they say, “hey, look how much money we could make if we make it all spectacle?”

I guess the thing that really disappoints me is that the traditional B-movie has no place anymore. The studios have trained audiences to “not waste their money” on such films and rent them instead. But the traditional B’s were such a value for audiences–the audiences of yesteryear welcomed the opportunity to enjoy the latest exploits of Tarzan, Sherlock Holmes and the Bowery Boys. They grew to love the various characters that populated “series” films and also enjoyed one-off fare like the film noirs that were highly entertaining. Heck, sometimes those “B’s” even became classics–as many film buffs know Casablanca was made on a “B” movie budget and schedule!

I recently watched the sci-fi-horror vampire actioner Daybreakers and it was a nice throwback to the old “B’s.” Splinter was another. Christopher Nolan, riding high with The Dark Knight and Inception, made his first mark when his low-budget noir-with-a-twist Memento became a modest hit (maybe more than modest considering its budget). I wish more of those type of films would break through to theaters, but it seems most are relegated to direct-to-DVD status these days.

Notice I’ve left 3D out of this. I really don’t like to talk about that, because I really don’t want to see a world where 3D becomes the predominant way to watch movies. I still want the choice to not watch a film in 3D to exist. I’m hoping it always does.

OGM: Here’s another chance to predict the future. Name a relatively unknown actor or actress who’ll be a huge star within five years.
PC: I’ll say Sam Kitchin–we bought our house from him and he’s a terrific guy and actually quite a neat actor. He’s done some character roles in some major movies and TV shows and I really think he could become a character actor of note. I’d also like to see Lee Evans get a big breakout role. Some other talents I like that I feel are deserving of bigger roles and more notoriety are Gregg Binkley and D. David Morin. And the great Daniel Roebuck, who is writing the foreword to my book–well, he’s far from being relatively unknown but it would be awesome if he became even more well-known than he is.

OGM: Who’s your favorite movie critic to read?
PC: I’ve always liked Roger Ebert’s writing. I don’t always agree with him, but I’m always entertained by his writing. The same with Leonard Maltin. I’m more a fan of Leonard’s books about classic movies (books like Movie Comedy Teams, The Great Movie Shorts aka Selected Short Subjects, Of Mice & Magic and more are a major inspiration to me in my own project) than his movie review yearbooks, however.

I also am a huge fan of John McElwee who has a wonderful blog called Greenbriar Picture Shows. It’s not so much a movie review site as it is a site about how classic movies were promoted. Well actually, it’s more than that–he does talk about the old stars and films sometimes offering his critical analysis of each, but mostly it’s about his memories of seeing those films and his rediscoveries of those films today. It is jam-packed with articles from trade papers of the day showing how each film was ballyhooed, how much money the studios put behind the PR campaigns and how much the films actually grossed. It is a really a neat perspective on how much movies were a part of people’s lives, especially in the days before TV. And it really shows how hard the studios tried to reach the common man with appealing B-pictures–a level of films as I mentioned above that barely exist anymore. John doesn’t just cover B’s though–he covers all of it with meticulous detail (including photos you will not see anywhere else) and eloquent prose. A must read.

OGM: It’s almost time to wrap things up, but let’s get back to that question about your pick for most criminally underrated movie.
PC: Well, it used to be Laurel & Hardy’s The Big Noise, which was vilified in several books over the years as being Stan & Ollie’s “worst.” But that film (a favorite of mine) has been vindicated by many in recent years. So I guess I’m left with Bela Lugosi Meets a Brooklyn Gorilla as my final answer.

Thanks to Paul Castiglia for taking part in this edition of Critical Juncture, Be sure to visit his site, Scared Silly, and look for his upcoming book of the same title. Join us again next week, when we’ll be talking cinema with yet another film critic or movie blogger.

Sure, we all like to think we know a lot about movies, but how many of us have the academic credentials to back it up? Martin Sauter does, as he’s received an MA in European Cinema from Bath University and a PhD in Film from Warwick University. Besides being able to wow people with his expertise on celluloid, Martin also spent years on college campuses…surrounded by lovely coeds. Like I said, he’s a really smart guy. He’s also got a Twitter account.

Film-Daily is a treasure trove for fans of European movies, older films, festivals, and performers who’ve been overlooked or forgotten. Usually updated several times per week, it serves as a pipeline to a side of film that’s often neglected by the Michael Bay crowd. For example, a recent visitor to Film-Daily would find the following:

• A look back at the career of late German actress Inge Meysel
• Brief review of the Oscar-winning William Hurt film, The Accidental Tourist
• Tributes to actresses Senta Berger and Maggie Smith
• A pictorial retrospective on actress Geraldine Chaplin

In addition to his love of film, Martin Sauter is also a fan of music and literature. His profile at Film-Daily lists the following works as some of his favorites:

• An American Tragedy by Theodore Dreiser
• The House of Mirth by Edith Wharton
• Die Buddenbrooks by Thomas Mann
• The Long Goodbye by Raymond Chandler
• To Kill a Mockingbird by Harper Lee

Oh, and he also likes to listen to this guy…

Now that we’re a bit more familiar with Martin Sauter, let’s see what he has to say about the state of the movie industry.

Only Good Movies: What’s the first movie that you remember seeing?
Martin Sauter: Hitchcock’s Psycho (it marked me for life…LOL)

OGM: What’s the most recent movie you’ve seen?
MS: Life is Too Long by German director Dani Levy

OGM: Is there a particular film that you feel is criminally underrated?
MS: Klute

OGM: Which director do you feel has turned out the best overall body of work?
MS: Almodovar, Hitchcock, Truffaut, Chaplin

OGM: From an artistic standpoint, which film do you think is most important?
MS: Meshes of the Afternoon

OGM: All artsy considerations aside, which movie is your personal favorite?
MS: Chinatown (not very original for a choice, but it has been my favourite for at least 20 years, if not more)

OGM: In your opinion, which film is entirely overrated?
MS: The Dark Knight

OGM: Have you ever walked out of the theatre during a film? If so, what movie was playing?
MS: The Dark Knight

OGM: In your mind, what’s the ultimate goal of a movie critic?
MS: To point out–enlighten–enthuse.

OGM: Time to look into the future. Do you predict any major changes for the movie industry over the next 25 years?
MS: Hollywood domination is a thing from the past. The digital revolution will democratize film-making and film distribution.

OGM: Here’s another chance to predict the future. Name a relatively unknown actor or actress who’ll be a huge star within five years.
MS: Hannah Herzsprung

OGM: Who’s your favorite movie critic to read?
MS: Peter Bradshaw, The Guardian

I’d like to once again thank Martin Sauter for taking part in this edition of Critical Juncture. If you’d like to thank him yourself, head on over and check out Film-Daily.

Be sure and join us next week, when we’ll once again be rapping about movies with someone who knows what they’re talking about. Until then, here are a few of our older interviews to keep you warm at night:

• Katrina Hill of Action Flick Chick
• Darren Camponi aka DudeDazz
• Scott Nehring of Good News Film Reviews

But enough of my nonsense. Let’s hear a little bit about Angela in her own words.

“Angela is a 25-year-old classic film enthusiast from Detroit. In college, she earned a degree in Television and Digital Media Production and minored in Film Studies. While she was in school, she realized she loves writing about movies and studying film history. After she graduated, she started to miss writing about films so she launched her blog, The Hollywood Revue in February 2010. She has also co-authored the cookbook Cooking with the Classics: Recipes Inspired by Classic Films. Aside from working on her blog, she likes going for walks, listening to music, and going to flea markets.”

Let the interview begin…

Only Good Movies: What’s the first movie that you remember seeing?
Angela: E.T. I think I had to have been maybe three or four years old at the time.

OGM: What’s the most recent movie you’ve seen?
Angela: I just finished watching The Heiress with Olivia de Havilland and Montgomery Clift, which was amazing. But if you mean the one to come out most recently, I believe it was Inglorious Basterds.

OGM: Is there a particular film that you feel is criminally underrated?
Angela: I wish A Letter to Three Wives and The More the Merrier would be talked about more often. Letter had such a stellar screenplay, strong cast, and a clever premise. The More the Merrier was hilarious, and I loved the Jean Arthur/Joel McCrea/Charles Coburn combination. And then there’s Hands Across the Table with Carole Lombard and Fred MacMurray. I found that one to be so charming and funny, and I love Lombard and MacMurray together.

OGM: Which director do you feel has turned out the best overall body of work?
Angela: Billy Wilder has never let me down. I love how he could do anything from frenetically-paced comedies like One, Two, Three to very serious movies like The Lost Weekend, and he could do both with equal brilliance. Some Like It Hot, The Apartment, Sunset Boulevard, and Witness for the Prosecution are also some of my all-time favorite movies.

OGM: From an artistic standpoint, which film do you think is most important?
Angela: I really can’t name just one, because I think it depends on what type of film you’re dealing with. What made Footlight Parade an innovative musical isn’t what made Rear Window a great thriller or High Noon an important Western.

OGM: All artsy considerations aside, which movie is your personal favorite?
Angela: Without a doubt, E.T. As I said, it’s the first one I ever remember watching, and it’s stuck with me very strongly all this time. I could go on for hours about all the movies that I consider to be my favorites, but E.T. will always be the one I’d take with me to that hypothetical deserted island.

OGM: In your opinion, which film is entirely overrated?
Angela: Citizen Kane. It was hugely groundbreaking from a technical standpoint, and I give it all the credit it deserves for that, but I simply don’t think it’s the end all, be all of American film.

OGM: Have you ever walked out of the theatre during a film? If so, what movie was playing?
Angela: I’ve never actually done it, but I certainly wanted to every time I’ve had to see something with Adam Sandler in it.

OGM: In your mind, what’s the ultimate goal of a movie critic?
Angela: All I try to do is be honest, be informative, and be ready for someone to disagree with me. Since I focus on classic films, it’s not like I’m trying to save people from wasting $10 on some awful movie at the theater. But if I can pique someone’s interest in a movie they otherwise might have totally overlooked on the TCM line-up, that’s something that makes me happy.

OGM: Time to look into the future. Do you predict any major changes for the movie industry over the next 25 years?
Angela: I wouldn’t be surprised if there were a big backlash against movies full of excessive computer generated effects and movies eventually started moving in a simpler direction. You can only push something so far before people will start resisting it. I’ve been sensing more and more people getting frustrated with movies that are put out with the hope that a bunch of computer effects will distract the audience from the lack of a good script and talented actors.

OGM: Here’s another chance to predict the future. Name a relatively unknown actor or actress who’ll be a huge star within five years.
Angela: I think Kiernan Shipka, who plays Sally Draper on Mad Men, has a lot of potential. She’s pretty young right now, but she’s been given some great material on the show and she’s handled it very well. If she continues to act as she gets older, I think she could have a pretty bright future.

OGM: Who’s your favorite movie critic to read?
Angela: I like Leonard Maltin.

Our thanks go out to Angela for taking part in Critical Juncture and allowing us to learn a little more about The Hollywood Revue. Join us again next week for a new guest and plenty more cinematic musings. In the meantime, here are a few links to interviews from the past:

• Meaghan Couture of Wild Celtic
• Philip Martin of the Arkansas Democrat-Gazette
• Michelle Graham of The Film School Rejects

Want to know more? Here’s a little something about Andreas from the Pussy Goes Grrr website:

“Andreas was born inside the Arctic Circle. He’s currently studying to receive a BA in Cinema and Media Studies. In his spare time, he likes to consume sugary foods, read depressing graphic novels, and find new ways to frighten himself. His blogging interests include film (especially foreign, animated, cult, horror, etc.), ’90s TV, and the role of gender in art.”

OGM: What’s the first movie that you remember seeing?
Andreas: My father exposed me to a lot of foreign art films, so I recall seeing Aguirre, the Wrath of God and The Tin Drum very early in my childhood. But I’ve been told that the first movie I saw in a theater was Michael Mann’s The Last of the Mohicans.

OGM: What’s the most recent movie you’ve seen?
Andreas: House of the Devil (2009).

OGM: Is there a particular film that you feel is criminally underrated?
Andreas: As with most of the questions here, this could have dozens of answers, but I’ll say that Powell & Pressburger’s The Life and Death of Colonel Blimp (1943) doesn’t get half the attention it deserves. I’ve heard it described as the British Citizen Kane, and I’d say that approximates its significance in film history. (David Mamet loves it, too.)

OGM: Which director do you feel has turned out the best overall body of work?
Andreas: It’d be silly to describe any one director’s body of work as “the best”…but for the question’s sake, I’ll say that Billy Wilder’s output was as high-quality, diverse, and entertaining as anyone else’s. Howard Hawks, too.

OGM: From an artistic standpoint, which film do you think is most important?
Andreas: One very artistically important movie is Tokyo Story (1953), since it’s the culmination of Ozu’s graceful, quietly powerful visual style, though I don’t think I’d call one movie “the most important.”

OGM: All artsy considerations aside, which movie is your personal favorite?
Andreas: My catalog of favorite films is based partially on “artsy considerations,” so I’ll submit Carol Reed’s The Third Man (1949), which is a near-perfect work of noir artistry and a poignant rumination on intimate relationships in a postwar world.

OGM: In your opinion, which film is entirely overrated?
Andreas: Many spectacular-but-mediocre movies tend to be greatly overrated; one example is Ben-Hur (1959), which is extraordinarily long and pretty hollow.

OGM: Have you ever walked out of the theatre during a film? If so, what movie was playing?
Andreas: This doesn’t really count, but I did walk into and then immediately out of a screening of You Don’t Mess with the Zohan. I still want those few seconds of my life back. For the most part, though, I’ll stick with a movie to the very end.

OGM: In your mind, what’s the ultimate goal of a movie critic?
Andreas: I don’t know about an “ultimate goal,” but as a critic, I just want to apply my personal skills of critical analysis to honestly appraising the quality of movies, and help steer film culture and viewing audiences in positive directions.

OGM: Time to look into the future. Do you predict any major changes for the movie industry over the next 25 years?
Andreas: I’m not an industry expert by any means, but looking into my Magic 8-Ball, I foresee more of the same. Heaps of trash, some gems.

OGM: Here’s another chance to predict the future. Name a relatively unknown actor or actress who’ll be a huge star within five years.
Andreas: The actors/actresses I like never seem to become big stars. So I shall decline to answer.

OGM: Who’s your favorite movie critic to read?
Andreas: I read a lot of critics; I’d say my favorites are Ebert, Anthony Lane, David Thomson, Kim Newman, the A.V. Club crew, Jonathan Rosenbaum, Pauline Kael’s classics, and Armond White when I’m looking for a laugh.

Thanks again to Andreas from Pussy Goes Grrr for taking part in this week’s Critical Juncture segment. Be sure to visit the site to show your appreciation, and join us again next week when I’ll be talking to yet another film critic or movie blogger. Until then, here are a few interviews from the past to keep you entertained:

• Ed Howard of Only the Cinema
• Derek Miller of BadMovieRealm
• Tim Buel of We Are Movie Geeks

And did I mention that Todd is also a filmmaker? Into the Abyss keeps you updated on all his latest projects, and you may even get a chance to help him name one.

Here’s a bio on Todd from the man himself:

Todd Miró has been making movies since he was just a strapping lad, running around with his buddies and his Super-8 film gear. After graduating with a film degree from San Francisco State University, Todd pursued his passion as a professional editor and motion graphics designer, working on numerous broadcast documentaries that have aired on PBS, Animal Planet and the BBC.  More recently, he delved back into the world of Independent Filmmaking, editing and producing the acclaimed horror/thriller The Commune and is currently finishing his first horror short as writer/director, Spook Hunt. His love of cinema, horror and media in general can be experienced on his widely-read blog Into The Abyss, which recently garnered a firestorm of attention for Todd’s blistering rant of Hollywood’s penchant for bathing their movies in a hyper-saturated sheen of orange and teal.

Now onto the questions…

Only Good Movies: What’s the first movie that you remember seeing?
Todd Miro: Probably The Red Balloon as a child. I was captivated by the amazing visuals and the last sequence of multitudes of balloons coming to the child’s aid and lifting him up into the sky.

OGM: What’s the most recent movie you’ve seen?
TM: Since I’m a father of two young boys, that would be Toy Story 3. I loved the cranky old clown. Although I liked the movie (and of course got teary-eyed at the end) I wasn’t as bowled away as others. I’d put it firmly behind the other two Toy Story films as well as some of the better recent animated movies: Finding Nemo, The Incredibles and Wall-E.

OGM: Is there a particular film that you feel is criminally underrated?
TM: Well, it’s not currently underrated, but when it first came out, Blade Runner was absolutely misunderstood. I remember my buddy and I riding our bikes out to the biggest theater in our hometown to see the premiere. The theater was practically empty except for us and one other group of viewers that we soon realized had worked on the movie. Needless to say, I was blown away by the unbelievable visuals Ridley had painted on the screen, and the brilliant noir touches and was shocked when so many others seemed to miss the essence of the movie.

OGM: Which director do you feel has turned out the best overall body of work?
TM: Stanley Kubrick–hands down.  He consistently produced works of art that pushed the boundaries.He never got lazy with his source of material, choosing to wait until he found something inspiring, rather than producing work for work’s sake. He created high-water mark movies across many genres and over three decades.Scorsese a close 2nd place.

OGM: From an artistic standpoint, which film do you think is most important?
TM: I hate to be all film-school-geeky here, but it’s still Citizen Kane. Go to film school if you want to know why.

OGM: All artsy considerations aside, which movie is your personal favorite?
TM: Alien. A perfect horror movie machine wrapped up in amazing art direction. Oops, I guess that is an “artsy consideration”.

OGM: In your opinion, which film is entirely overrated?
TM: Avatar. An incredible technological achievement balanced on a dime-store story.

OGM: Have you ever walked out of the theatre during a film? If so, what movie was playing?
TM: Nope. Although I was close with The Happening. I was holding out hope that M. Night was going to do a big “gotcha” at the end that I am still waiting for. I’m still not convinced he’s not intentionally committing professional suicide.

OGM: In your mind, what’s the ultimate goal of a movie critic?
TM: All you can be is true to your opinion. Of course, it helps if that opinion is informed by a knowledge of film history, theory, and a love of the cinematic art form.

OGM: Time to look into the future. Do you predict any major changes for the movie industry over the next 25 years?
TM: It’s a very scary place right now for the industry. The studios continue to roll the dice on Tent-pole films to the neglect of more interesting, original works. Combine this with an atmosphere where it has never before been easier to make a movie (as an independent producer), but never been harder to actually make money as an independent and you have an industry ready to self-implode. I don’t know, in 25 years we’ll all probably just be wired directly into the net and be able to have visual stories downloaded directly into our cortexes.

Pass the virtual popcorn please.

OGM: Here’s another chance to predict the future. Name a relatively unknown actor or actress who’ll be a huge star within five years.
TM: I’m not so good at picking who the Hollywood machine will dress up as the next star, but I can say that Lance Reddick and Amy Ryan (both from The Wire) are criminally underused in movies and need to be seen on the big screen.

OGM: Who’s your favorite movie critic to read?
TM: I hate to be really boring and obvious but it’s still Roger Ebert–even though he completely missed the mark on Blade Runner. If he wrote for movies instead of television, it would be Tim Goodman. He was the first to bring to my attention The Wire, Mad Men, and Breaking Bad. He does an amazing job deconstructing each episode.

Big thanks to Todd Miro for taking part in Critical Juncture. Be sure to support all his upcoming projects by checking them out at his blog, Into the Abyss. Next week, we’ll have an all-new guest, but until then here are a few interviews from the past:

• Screen Team
• Scott Nehring
• Tim Buel

Before we get to the questions and answers, though, here’s a little bit about the Toronto resident in his own words:

“All of my life has always revolved around movies. I graduated with an BA Honours Degree in Film Studies and Communications Studies from Wilfred Laurier University. I have written film criticism for Suite101 for over a year, and am now bringing my thoughts and love of film to the blog universe.”

Only Good Movies: What’s the first movie that you remember seeing?
Mike Lippert: I actually wrote a full post about this. As far as my memory serves me, Return to Oz was the first I have any knowledge of, but, to spare myself from telling the long story again, I’ll just let people read my post on it.

OGM: What’s the most recent movie you’ve seen?
ML: I just finished watching Big Night with Stanley Tucci and Tony Schalhoub, co-written by Tucci and co-directed by Tucci and Campbell Scott. It’s a wonderful film about a pair of Italian brothers who come to America to start their own restaurant, but they are being undercut by the less authentic but very popular Italian restaurant just a few blocks away, and, if they can’t turn it around, they will lose everything. It was a very funny, touching, and natural story that more people should probably see.

OGM: Is there a particular film that you feel is criminally underrated?
ML: Well, it depends on your definition of underrated. In terms of a movie that no one saw, I think 13 Conversations About One Thing should have been on just about every best of list of both 2001 and the decade, but it wasn’t, despite a lot of star power. It’s a very moving, intelligent, philosophical film that is also highly watchable and entertaining.

In terms of a movie that everyone saw but no one liked despite its goodness, I’d say August Rush is a very underrated movie. Of course, ask me next week and I’d give you a different answer, but this is such a moving film that works because it genuinely believes that music has the power to heal or connect lives or any other magical thing it causes in people. Sure, the plot is just a retread of Oliver Twist and, sure, Robin Williams plays the villain too big, but the movie makes a great argument that maybe music does have the power to change our lives.

OGM: Which director do you feel has turned out the best overall body of work?
ML: I’ve had this conversation in my head many times and I’m not sure I’ve ever come up with a director who has turned in no bad films. I would have said Scorsese had it not been for The Color of Money. I think Eric Rohmer’s career has been fairly consistent. Of course, some of his films were better than others but they were all specifically Rohmer and all delivered in so much as that they gave the audience what it expected from an Eric Rohmer film. I don’t think Mike Leigh made many, if any, bad theatrical films either. I know a lot of people would disagree with me here but I’ve never seen a bad Spike Lee movie either. Even the ones that people hate on like Girl 6 or She Hate Me have a certain artistic worth that makes them constantly interesting.

OGM: From an artistic standpoint, which film do you think is most important?
ML: This is a tricky question because, artistically speaking, there will never be a more important movie than Birth of a Nation. Of course, despite the fact that it more or less created film language as we know it, no one talks about that one much any more outside of its inherent racism. I’d say Citizen Kane was the next most important because it showed that film style was something that was special to film and could be explored in order to create certain meanings as opposed to the classic style of “invisible editing” in which a film’s technique didn’t draw attention to itself. Lastly, Godard’s Breathless showed people that film style could be broken down even farther; that all the conventions could be thrown out and that the rules were simply made to be broken. All three movies changed the way their generation related to and thought about film.

OGM: All artsy considerations aside, which movie is your personal favorite?
ML: Fellini’s La Dolce Vita is my favorite film because it is a culmination of everything I think a film should be. It is beautiful, it’s is well acted, it is engaging and entertaining, it is intelligent while still being enjoyable and it’s symbolism is at once both simple and yet profound. To top it all off, the movie deals with meaningful subjects like life, love, redemption, etc. Few people realize how many modern films owe a huge debt to La Dolce Vita like Lost in Translation or most recently Up in the Air.

OGM: In your opinion, which film is entirely overrated?
ML: I’ll name four, all of which are going to turn a lot of people off but so be it:
1) A Clockwork Orange (Kubrick at his most self indulgent, taking a powerful story and turning it into cartoon violence)
2) Reservoir Dogs (Tarantino just spinning his wheels)
3) Fight Club (nihilistic garbage parading as satire)
4) The Boondock Saints (low-grade, over-stylized Tarantino knock-off)

OGM: Have you ever walked out of the theatre during a film? If so, what movie was playing?
ML: I have never done this. Once I start a movie, I must finish it. I may not finish it for years, but I will finish it. There is one film that required a desperate amount of strength on my part for me to keep watching and that film was Cannibal Holocaust, arguably the worst film I have ever seen. What a vile, ugly, uselessly violent, unpleasant movie that then thinks it can justify everything it has put its audience through with one throwaway line at the end. I hate that movie more than words can describe.

OGM: In your mind, what’s the ultimate goal of a movie critic?
ML: I think the problem with movie criticism is that it has been overcome by tabloid gossip. People are judging movies based on who their star is sleeping with or whose couch they jumped on and forgetting the movie itself. Whenever I think of criticism I think of Jean Renoir’s quote when he said that the songwriter is often greater than the song. To me, that means that the movie is simply the starting point for the critic to explore themselves. Great criticism therefore happens when a critic looks inside themselves and conveys the experience they had with a film. Checklists of what was good and what wasn’t are boring. People used to read Pauline Kael and Manner Farber not to know if the movie is good or not but to know what Pauline Kael and Manny Farber thought of it. Criticism doesn’t have many great songwriters these days.

OGM: Time to look into the future. Do you predict any major changes for the movie industry over the next 25 years?
ML: Of course there will be changes. The movie industry tends to turn around roughly every ten years. The big budget disaster movies like The Towering Inferno gave way to Easy Rider and Bonnie and Clyde, which sparked that whole 70’s movement, which ended by going big again with Jaws and Star Wars leading into the excess and fluffiness of the 80s, which led to the rise of independent film again in the 90s with Jim Jarmusch, John Sayles and Spike Lee, until Pulp Fiction turned it around again and so on. I think with Avatar we are going to start to see a change. More original, character-based films will start coming out. I don’t know if we are quite ready for another rise of the indies yet, but it seems that an improvement in quality is hopefully coming sooner than later.

OGM: Here’s another chance to predict the future. Name a relatively unknown actor or actress who’ll be a huge star within five years.
ML: It’s hard to say. Joseph-Gordon Levitt certainly seems to be on the rise

OGM: Who’s your favorite movie critic to read?
ML: I have three. One is a regular critic, one is a theoretical critic and one is a bit of both: Roger Ebert, Andre Bazin and Pauline Kael. All are engaging, entertaining, intelligent, open our eyes to things in movies we may have missed and all were/are great writers. What else could you ask for?

Many thanks to Mike Lippert for taking part in Critical Juncture, and be sure to visit his site and show your appreciation. We’ll be back next week with another film critic or movie blogger, but here are a few more interviews to tide you over in the meantime:

• James Barron of Another Failed Film
• Kevin Coll of Fused Film
• Mick LaSalle of the San Francisco Chronicle

When she’s not watching movies, Meaghan also enjoys music and literature. Favorite musicians include Van Morrison, Alanis Morrisette, Mary Chapin Carpenter, Frank Sinatra, and Jane Monheit. On the literary side of things, some of her favorites are 1984, All the Pretty Horses, The Stand, Rosencrantz and Guildenstern are Dead, Brave New World, and A Midsummer Night’s Dream.

While I love to talk about music and books, Critical Mass is dedicated to all things cinematic, so let’s dive into the questions and see what Meaghan has to say about the current state of film.

Only Good Movies: What’s the first movie that you remember seeing?
Meaghan Couture: The first movie I remember seeing is The Little Mermaid. I was five years old at the time and I remember being so enthralled by the music and singing. For months afterward, I would run around the house singing those songs, requesting to spend most of the summer in a bathing suit so I looked like a mermaid and splashing happily in the tub, pretending I was at first a mermaid and then a real live girl with two legs! Ah, childhood.

OGM: What’s the most recent movie you’ve seen?
MC: The most recent film I’ve seen was Toy Story 3. I loved it! They did a fantastic job of connecting with the audience and plucking our heartstrings.
[OGM Note: It took me a number of weeks to get around to posting this interview, so Meaghan has no doubt seen other movies since then.]

OGM: Is there a particular film that you feel is criminally underrated?
MC: A film that I feel is criminally underrated would be Bright Star. I take underrated to mean not so much based on whether it won awards or received nods from critics so much as I mean the general public. Bright Star is beautiful, funny, relatable, historical, romantic. It has poetry, intrigue, star-crossed lovers, hardship and charisma. It’s a shame that practically no one in the States has heard of this film.

OGM: Which director do you feel has turned out the best overall body of work?
MC: I’m not by any means qualified enough as a movie lover to answer such an important question. Directors I admire would be Scorsese, Hitchcock and Allen, but, again, I reserve judgment for those better schooled in film than me. It’s really too subjective.

OGM: From an artistic standpoint, which film do you think is most important?
MC: Artistically, I like American Beauty and Lost in Translation. I wouldn’t say one film is more important than another because important means different things to different people. For instance, Lost in Translation was more important to me over an artsy film like Moulin Rogue because I feel the message was stronger, the interactions more romantic and real. Though someone may like American Beauty more for it’s messages.

OGM: All artsy considerations aside, which movie is your personal favorite?
MC: My personal favorite movie is Bright Star. I am a writer, poet, and hopeless romantic, so this film will forever reside in my heart, memory, and imagination.

OGM: In your opinion, which film is entirely overrated?
MC: Overrated films are very easy to find because they are usually followed by shameless sequels. That’s all I’ll say on the subject, so feel free to take your pick.

OGM: Have you ever walked out of the theatre during a film? If so, what movie was playing?
MC: It took me a minute to remember, because usually I have a policy to see something all the way through before I see how I feel about it. I did, however, walk out of Scary Movie 3.

OGM: In your mind, what’s the ultimate goal of a movie critic?
MC: I think ultimately the goal of a movie critic is to review a film for it’s depth, content and whether or not it’s a genuine body of work that belongs in the category of “film” or if it is a pretender. They weed out the real stories from just images captured on film.

OGM: Time to look into the future. Do you predict any major changes for the movie industry over the next 25 years?
MC: Entertainment is an ever-evolving body of work. The film industry will change, and is changing even now. The economic situation is reflected in films today. The subject matter will change, the technology will change. Someone will come forward with a new and innovative idea that will change cinema–we just don’t know who or what as of yet.

OGM: Here’s another chance to predict the future. Name a relatively unknown actor or actress who’ll be a huge star within five years.
MC: The variables here depend on talents yet to be discovered, as well as the dedication of the actor to pursuing their career. Sorry, no prediction for me!

OGM: Who’s your favorite movie critic to read?
MC: The only critic I read is Mike Lippert from Toronto, Canada. Otherwise I prefer to screen the film for myself.

Thanks to Meaghan Couture for being nice enough to participate in this edition of Critical Juncture. If you’d like to show her your appreciation, be sure to visit her website, Wild Celtic. Until next week’s installment, here are a few more interviews to keep you entertained.

• Ivan G. Shreve, Jr. – Thrilling Days of Yesteryear
• Shaun Huhn – CineNiche
• Katrina Hill – Action Flick Chick

“Christopher Smith is the owner, editor and primary writer of the popular Web site WeekinRewind.com, which is one of the few independently owned entertainment sites on the Web. He has been the film critic for 13 years at the Bangor Daily News, reviewed eight years for regional NBC outlets and also two years nationally on E! Entertainment Daily. He is a member of the Broadcast Film Critics Association. In his 13 years as a critic for print, television and Web, he has produced nearly 4,000 reviews.”

I can’t say enough good things about Week in Rewind. In addition to movie reviews for all the latest releases, the site features the hottest movie trailers, movie news, giveaways, and info on music and television. It’s truly the ultimate fix for pop culture junkies.

Now that I’m through singing his praises, let’s see what Christopher Smith has to say about movies…

Only Good Movies: What’s the first movie that you remember seeing?
Christopher Smith: It was with my father. Disney’s The Black Hole. I remember it because that’s the only movie we’ve seen together. Surely, there were others, but that comes to mind first.

OGM: What’s the most recent movie you’ve seen?
CS: Shrek Forever After. (OGM Note: It took me several weeks to get this interview posted, so Christopher has no doubt seen a number of films since then.)

OGM: Is there a particular film that you feel is criminally underrated?
CS: Well, it isn’t Showgirls.

OGM: Which director do you feel has turned out the best overall body of work?
CS: That’s tough. Eastwood has had this incredible run for years, but before you turn to him, you have to look to Hitchcock and Truffaut, Wyler and Whale and Spielberg and Lee. Cukor and Coppola and Berkeley. Godard and Scorsese and Allen. I could go on and on. I was especially happy to see Kathryn Bigelow win for The Hurt Locker, and I’m looking forward to seeing how that win enhances her work.

OGM: From an artistic standpoint, which film do you think is most important?
CS: Fritz Lang’s Metropolis. It set the tone and influenced so much that came after it. And its new restoration is fantastic.

OGM: All artsy considerations aside, which movie is your personal favorite?
CS: All About Eve. Don’t ask me who I side with. But the writing in that film and the performances are enough to stop me cold whenever I walk past my television and see it playing on TCM.

OGM: In your opinion, which film is entirely overrated?
CS: Crash. I hated that movie. It was designed to feed into white guilt, and it manipulated the audience the entire way. There isn’t an honest moment in that movie, though there remains a necessary truth that needed to be pulled from its wreckage. What a disappointment and a lost opportunity to really get to the core of race relations in this country.

OGM: Have you ever walked out of the theatre during a film? If so, what movie was playing?
CS: Sure, but not while working. I’m pretty sure I walked out of Friday Night Lights. Drivel. And anything by Rob Zombie generally makes me want to bolt because I can’t stand how inept he is.

OGM: In your mind, what’s the ultimate goal of a movie critic?
CS: To offer a sane, intelligent voice that can push through the hype and inform a public that’s swindled too often by advertising dollars.

OGM: Time to look into the future. Do you predict any major changes for the movie industry over the next 25 years?
CS: 3D will die away, just as it did a few times before, and then it will find new life in new technology in about 25 years.

OGM: Here’s another chance to predict the future. Name a relatively unknown actor or actress who’ll be a huge star within five years.
CS: You mean, who will bring the box office? For the most part, stars are dead. But box office? Probably Sam Worthington. Some will argue that he already is a big “star,” but Avatar was big because of its director and the expectations behind the film itself. Clash of the Titans was big because of its subject. Worthington was not trotted out as a selling point for either film. But it will come. There’s something there.

OGM: Who’s your favorite movie critic to read?
CS: Anthony Lane–he makes me laugh, which can’t be underrated. Pauline Kael (I return to her insight often). Roger Ebert. Vincent Canby. Christy Lemire–I really love her work.

Before we turn out the lights on this edition of Critical Juncture, I’d like to thank Christopher Smith for taking part. Be sure to check out his site, WeekinRewind, as well as his reviews for the Bangor Daily News. Until next time, here are a few more interviews to tide you over:

• The Film Addicts
• Screen Team
• Carrie Rickey

In addition to mock scripts for movies such as The Wicker Man (Nicolas Cage version), The Incredible Hulk, and National Treasure: Book of Secrets, James also offers reviews of films ranging from The Road to Clash of the Titans. And then there are the wonderful fake news items, including my favorite:

Sarah Jessica Parker Mistaken for an Actual Horse

It’s great stuff, and I’d highly advise you to check out Another Failed Film. Now here’s the interview with James Barron:

Only Good Movies: What’s the first movie that you remember seeing?
James Barron: The first movie I have a clear memory of watching is The Shining on VHS. I saw it at a friend’s house when I was way too young for R-rated movies and it terrified me.

OGM: What’s the most recent movie you’ve seen?
JB: Robin Hood. (OGM note: it took me a few weeks to post this.)

OGM: Is there a particular film that you feel is criminally underrated?
JB: I think Bug with Ashley Judd and Michael Shannon is very underrated.

OGM: Which director do you feel has turned out the best overall body of work?
JB: Guess I’d have to go with Kubrick. He made so many brilliant films that spanned such a wide variety of genres.

OGM: From an artistic standpoint, which film do you think is most important?
JB: 2001: A Space Odyssey.

OGM: All artsy considerations aside, which movie is your personal favorite?
JB: The Big Lebowski. For starters, it’s absolutely hilarious. But hidden underneath all the light-hearted humor is a very deep film deserving of repeat viewings. Not to mention it spawned the greatest movie drinking game ever made.

OGM: In your opinion, which film is entirely overrated?
JB: Slumdog Millionaire is probably the most overrated film in history. Nothing about the script or acting is even remotely memorable. The main character is extremely one-dimensional. The plot is basically a rehashed “guy loses girl, guy tries to get girl back” theme seen in a thousand past films. Honestly, the fact that this won Best Picture makes me sick to my stomach.

OGM: Have you ever walked out of the theatre during a film? If so, what movie was playing?
JB: No, I’ve never walked out. Doesn’t matter how mind-numbingly bad a movie is, I always stay till the bitter end.

OGM: In your mind, what’s the ultimate goal of a movie critic?
JB: Well, I guess the goal of a good movie critic is to offer readers some valuable insight into film. My goal is just to make people laugh. And hopefully convince a few of them to demand better writing instead of settling for today’s mediocre Hollywood blockbusters. If I convince enough, maybe then I’ll never again be forced to watch Shia Labeouf swinging through the jungle with an army of CGI monkeys.

OGM: Time to look into the future. Do you predict any major changes for the movie industry over the next 25 years?
JB: In twenty five years, Jerry Bruckheimer will produce National Treasure 13 and it will signal the coming of the apocalypse. Locust swarms will descend upon the earth, fires will rain down from the heavens…so yes, there will be some changes.

OGM: Here’s another chance to predict the future. Name a relatively unknown actor or actress who’ll be a huge star within five years.
JB: I can’t really say she’s unknown anymore, but after seeing Evan Rachel Wood in The Wrestler I was extremely impressed with her talents. Her performance in Whatever Works only further solidified that impression.

OGM: Who’s your favorite movie critic to read?
JB: Roger Ebert.

I’d like to send a heartfelt thanks out to James Barron for taking part in this week’s Critical Juncture segment, and I hope you’ll show your support by heading over to Another Failed Film and taking a look. Until next week, here are a few more Critical Junctureinterviews to keep you warm at night:

• Philip Martin – Critic for the Arkansas Democrat-Gazette
• Kevin Coll – Fused Film
• Jose Sinclair – 1000 DVDs