How Does On Movies Compare To Other Film Critique Books?

2025-12-28 20:51:54 66

4 Respuestas

Blake
Blake
2025-12-29 07:09:13
Reading 'On Movies' felt like stumbling into a film theory class where the professor actually makes you care about mise-en-scène. Unlike drier academic texts that dissect cinema like a Biology specimen, this book has this infectious energy—it’s less about rigid frameworks and more about how movies move people. I kept comparing it to stuff like 'Film Art: An Introduction', which, while thorough, can feel like homework. 'On Movies' though? It’s got passion bleeding through every page, like the author’s arguing with you over popcorn about why Hitchcock’s long takes matter.

What’s wild is how it balances depth with accessibility. It doesn’t dumb things down like some pop-crit books (cough 'Movies R Fun! Guides'), but it also avoids drowning you in jargon. The chapter on editing rhythms compared to musical tempo? Chef’s kiss. Made me rewatch 'Mad Max: Fury Road' immediately just to spot the patterns. It’s not the end-all bible—you’d still need Bordwell for nitty-gritty analysis—but for sparking that ‘aha!’ moment about why films work? Unmatched.
Uma
Uma
2025-12-30 14:18:02
I loaned my copy of 'On Movies' to a friend who ‘doesn’t read film books,’ and now they won’t give it back. That’s the magic of it—it doesn’t assume you’ve memorized Godard’s filmography. Compared to academic heavyweights like 'Film Theory: An Introduction,' it’s like swapping a lecture hall for a late-night dorm debate. The book’s strength is how it connects technique to emotion; like when it breaks down how Spielberg’s tracking shots in 'Jaws' aren’t just flashy—they’re primal, forcing your eyes where your fear already lives. Some purists might miss the footnotes and citations, but honestly? I’d take this over another dry semiotics breakdown any day. It made me wanna grab a camera, not just a highlighter.
Gemma
Gemma
2025-12-30 18:15:16
What grabs me about 'On Movies' is how it treats films as alive. So many critique books autopsy them—‘here’s the 3-act structure, the symbolic wardrobe’—but this one’s like listening to someone gush after a midnight screening. It’s Closer to Mark Kermode’s rants than Pauline Kael’s reviews, though with less ego. The comparison chapter between CGI spectacle and practical effects? Pure gold. Made me appreciate 'The Thing' (1982) on a whole new level. It’s not replacing my Bordwell books, but it’s the one I’d hand to someone who says ‘film analysis sucks the fun out of movies.’
Ryder
Ryder
2026-01-03 08:38:53
'On Movies' stands out for its voice. Most critique books fall into two traps: either they’re pompous (looking at you, Cahiers du Cinéma retrospectives) or so fluffy they’re basically IMDb reviews. This one threads the needle—smart but not smug. It reminds me of Ebert’s essays in how personal it feels, though it digs deeper into craft than his Great Movies series. The section on color symbolism actually made me notice how Wes Anderson uses peach tones differently from Kubrick’s yellows—stuff I’d glossed over before. It’s not as encyclopedic as 'The Story of Film', but that’s kinda the point; it’s a love letter to thinking critically about what you watch.
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