The folks over at Flavorwire compiled a list of their 50 greatest movie characters, and it’s pretty solid. However, on the premise that one list is never as good as two lists (otherwise known as The Law Of The Internet), I composed my own.
It might seem odd to group The Homesman and The East together for consideration. The first is a solid but somewhat frustrating Western, with a feminist edge. The second is an embarassingly broad, largely contemptible genre picture about cartoonish, dumpster-diving eco-terrorists that consistently rings false.
The term “melodrama” gets a bad rap these days, implying artificially heightened emotions and stagy, contrived narratives, but few genres or tendencies have held such continuing appeal over time. In the silent era, these were more the norm than the exception, and Teinosuke Kinugasa‘s Crossroads (1928) shows this to be as true in Japan as anywhere else in the film-making world.
So The Dissolve called it quits today. This is a shame. During its two-year run, it was the go-to place for smart, insightful, hilarious film writing. Its team of writers will go on to do more awesome stuff, to be sure, but it’s still a bummer for those of us who read it regularly.