A call for improved film criticism in Los Angeles

I have issues with the roles for critics in today's culture. However, this post is to draw attention to a few interesting things posted recently about the state of film criticism in the heart of the film world.

First up was this report from Scott Foundas about Los Angeles Times' film editor Tim Swanson and his general approach to the paper's coverage of the cinema world. He compares the paper's coverage of films like HUNGER and FLIGHT OF THE RED BALLOON with the coverage granted to HIGH SCHOOL MUSICAL 3 and PUNISHER: WAR ZONE. Then the piece openly reports on the coverage the Times gave the prestigious REDCAT theater with no mention of the theater's popular film programs. This omission was something a number of other film programmers around town (myself included) have been discussing recently. Scott makes a very strong argument for concern in this piece and it's recommend reading for anyone interested in film culture and criticism.

Then the very next day, on the LA Times blog, Patrick Goldstein wrote this piece about film critic Manohla Dargis. In it, he claims it's a "well known secret" that no one wants Dargis reviewing their film. The idea being she is too critical or too harsh, especially to Oscar baiting type films (which are my pet peeve.) Yesterday one of my favorite writers/critics Karina Longworth posted this piece in response. It ends with this line:

But if he’s actually suggesting that critics should allow “empathy” for the architects of blatant awards bait to temper their judgements, then this might be his harshest anti-criticism statement yet.

It's all very interesting writing. I would love for the level of cinematic discourse to be raised in this town. The column inches dedicated to ALVIN AND THE CHIPMUNKS are gonna be wasted space, no matter who you ask. Plus, in this digital age where institutions like the LAT are struggling for relevance, column space is not really an issue any longer. Why not invest in smarter writing? We have been trying the opposite for so long, it can't hurt to change.