{"id":85047,"date":"2020-02-14T08:00:15","date_gmt":"2020-02-14T14:00:15","guid":{"rendered":"https:\/\/news.medill.northwestern.edu\/chicago\/?p=85047&preview=true&preview_id=85047"},"modified":"2020-02-14T20:15:36","modified_gmt":"2020-02-15T02:15:36","slug":"film-criticism-in-2020-a-sit-down-with-chicagos-star-critic-brian-tallerico","status":"publish","type":"post","link":"https:\/\/news.medill.northwestern.edu\/chicago\/film-criticism-in-2020-a-sit-down-with-chicagos-star-critic-brian-tallerico\/","title":{"rendered":"Film criticism in 2020: A sit-down with Chicago’s star critic Brian Tallerico"},"content":{"rendered":"

By Nate Schwartz<\/strong>
\nMedill Reports<\/em><\/p>\n

Brian Tallerico serves as the president of the Chicago Film Critics Association and is the managing editor for the film review website RogerEbert.com. He and I chatted at a coffee shop across the street from Chicago\u2019s historic Music Box Theatre before he met up with some friends for a night of poker. We talked about Netflix, his approach to film criticism, the need for Rotten Tomatoes, Ebert\u2019s legacy and more.<\/p>\n

\"\"
Chicago’s historic Music Box Theatre at night (Nate Schwartz\/MEDILL)<\/figcaption><\/figure>\n

What is the purpose of a film critic?<\/b><\/p>\n

It\u2019s someone who gives words and vocabulary to what people already know and think about movies. You know if you like a movie. You know if you think a movie is bad; you know if you think it\u2019s good, but you don’t know why. A good film critic can help explain the cinematography choices or the music choices or the lighting choices and make you go: “Oh, that\u2019s<\/i> why I think The Godfather is good!\u201d When I was growing up I loved movies, but I found that I lacked the vocabulary. People like Roger [Ebert] gave me the vocabulary to discuss them. I\u2019m not a consumer guide; I hate consumer guides.
\n
\nYou never feel like it\u2019s your job to convince people that certain movies are more worth their time than others?<\/b><\/p>\n

People who know my tastes might find that theirs align and may use me as a consumer guide, but that\u2019s never my goal \u2014 it\u2019s almost more of a side effect. I\u2019ve never been about convincing someone to do something. You can\u2019t approach art as a product and convince people to buy.<\/p>\n

I feel like some people view movies as products and others see them as more of an art form. Is there a rightness or wrongness to either of those perspectives?<\/b><\/p>\n

I think the people who view it only as a product should be exposed to other forms of it perhaps, and maybe try to appreciate it as art. I think the people who overly appreciate it as art need to understand that a lot of it is a product and business. People are always asking, \u201cWhy didn\u2019t \u2018X Movie\u2019 get made?\u201d And the answer is there\u2019s no money to make that movie. There\u2019s always a business angle and aspect to all this. I think both viewpoints have value. You need to understand the business and the product aspect of it, but to say it can never be art is dismissive.<\/p>\n

Do you feel like some filmmakers see their work strictly as products?<\/b><\/p>\n

Like, most\u00a0 Netflix films? I mean, Netflix admits it; It\u2019s an algorithm. They\u2019re trying to appeal to certain Dows and expand their subscriber base and those are their products. And that\u2019s why most of their products are garbage. I imagine at some point during this interview we\u2019ll discuss the state of film and have the \u201cIs film dead?\u201d conversation because Netflix is producing 800 horrible products.<\/p>\n

But don\u2019t they produce some good ones too?<\/b><\/p>\n

Yeah but, it\u2019s all part of a “shock and awe” system. They\u2019re just trying to do as much as they possibly can. I\u2019m glad they give Marty [Martin Scorsese], Noah [Baumbach] and [Alfonso] Cuar\u00f3n money, but they also have a business model that is designed to stock the shelves as much as possible. Now, do I think that\u2019s bad? I don\u2019t know yet. We don\u2019t know Netflix\u2019s impact yet. I\u2019m curious to see what\u2019ll happen in the next five years. Everyone thinks, \u201cOh, Netflix is going to take over the world!\u201d Once Netflix loses all the Disney movies and all the Friends episodes and they start to hemorrhage even more money than they are now, it\u2019s gonna get interesting.<\/p>\n

I\u2019m not sure that Netflix is gonna dominate the way everyone thinks they will. They\u2019ve already changed the industry, but I\u2019m not sure they\u2019ll still be the same dominant force in five years. My problem with Netflix, in terms of discussing art, is that I feel like they make stuff that is designed to be watched while you\u2019re playing Candy Crush on your phone. They make stuff that you don\u2019t have to give a lot of attention to. Everyone says Marvel movies sag in the middle, and they do, but they do that on purpose so you can watch and still play Candy Crush. Everything is intentional.<\/p>\n

Netflix is looking for something for everybody, and I\u2019m not sure if the mass consumerism approach is good. Will it produce a “Roma” or “The Irishman” every now and again? Sure, but at what cost? I\u2019m not sure if any of us really know the answer to that yet.<\/p>\n

\"\"
Guillermo del Toro (dir. The Shape of Water, 2017) and Tallerico chat outside during Ebertfest, a yearly film festival held in Chicago that celebrates films that didn\u2019t receive their deserved praise during their theatrical runs. (Courtesy of Brian Tallerico)<\/figcaption><\/figure>\n

Do you feel like social media outlets like Twitter and blogging platforms have diluted the film critic arena at all?<\/b><\/p>\n

I don\u2019t know. Yes and no. But by creating a bigger pool it has given more voices the chance to break through and rise. I mean, I got my voice known through going on the radio and getting Rotten Tomatoes accredited. The idea that there\u2019s a traditional path to becoming Richard Brody at The New Yorker<\/em> doesn\u2019t exist anymore. However people have to do it, I\u2019m not really going to complain about it. Do I think there are people out there who could use better editors? Yes, but that\u2019s always been true. Now those people have more exposure and louder microphones through the internet.<\/p>\n

But without it, several of my favorite writers wouldn\u2019t be where they are. We get young writers, especially minority and female writers who have been greatly assisted by the expansion of the pool. I mean, if we\u2019re gonna long for a day when there was more control over the body of film criticism, we\u2019d be longing for a day that\u2019s white and male. I wrestle a little bit with the idea of \u2018dilution\u2019 because the \u2018dilution\u2019 has led to an expansion in terms of diversity of who we hear from.<\/p>\n

How do you reconcile when a movie is critically revered but commercially panned, or vice versa?<\/b><\/p>\n

I find that a lot of times that opposition creates the most interesting writing and conversation. I mean, Once Upon a Time in Hollywood was my number one this year largely for that reason. Some of the best writing this year came from that movie, and it wasn\u2019t all positive. I’ve read some great pieces on how that movie treated history and Bruce Lee. It got people talking in a way that most movies just don\u2019t anymore. If someone can come at it honestly and tell me why they didn\u2019t like The Irishman while I thought it was great, I love that. I mean, that\u2019s what I\u2019m here for. I edit 500 reviews a year, do you think I agree with all of them? I don\u2019t! But some of the best rambling I read are things that I don\u2019t agree with.<\/p>\n

That reinforces what you said earlier about how it isn\u2019t your job to convince people to like something they don\u2019t already like.<\/b><\/p>\n

When I write about Marriage Story or The Irishman and I\u2019m trying to illuminate why they\u2019re as good as I think that they are, I\u2019m really hoping someone reads it and goes, \u201cOh, yeah! That\u2019s why I liked that as much as I did!\u201d We\u2019re always trying to get our critics to address form and not content. Most people don\u2019t realize that, and if you as a critic can help them become aware of why<\/i> Martin Scorsese is putting something in frame or why<\/i> he chose a certain cut, and help them see the certain choices he makes to elevate the art, then I feel like I\u2019m doing something worthwhile.<\/p>\n

I hadn\u2019t really thought about it that way before.<\/b><\/p>\n

Yeah, I mean this is what art is for.\u00a0 It doesn\u2019t exist in a vacuum or in a binary good-bad system. Art is important because it\u2019s not<\/i> binary; it\u2019s open to interpretation.<\/p>\n

It\u2019s so interesting that you say that because I feel a lot of people\u2019s relationship with film criticism is the binary mentality that \u201cif he says the movie is good, I\u2019m gonna give it my money. If not, I won\u2019t.\u201d<\/b><\/p>\n

Fresh or rotten, right? That\u2019s become more popular because we\u2019re all so distracted by so many different things and we just want a quick answer if something is good or bad. I understand that. But that\u2019s not discussion or criticism. I mean Rotten Tomatoes is a portal; it\u2019s an aggregate but it\u2019s not film criticism in itself. You need to dig deeper for that if you want it. And if you don\u2019t, I get it. I have a mortgage and three kids; I understand just wanting to know if it\u2019s worth it to spend eighty bucks on Doolittle. I definitely think there\u2019s value to that.<\/p>\n

Also, I need to point out that I would not have my job without Rotten Tomatoes. Like I said earlier, at its best Rotten Tomatoes can act as a portal to film criticism. When you go to Rotten Tomatoes, you can click the links of the writers you like and you can find people whose reviews you enjoy reading.<\/p>\n

How has RogerEbert.com been able to maintain its level of prestige since Roger\u2019s passing in 2013?<\/b><\/p>\n

Quality work. It\u2019s as simple as that. It\u2019s all about consistently delivering quality work and approaching art in the same way Roger did, and hiring the right people to do that. As modestly as I can put it, we have a team that is as good as any team out there. So, naturally we\u2019re going to get a lot of attention when we have writers like Matt Zoller Seitz and Glenn Kenny and people with huge pedigrees like Christy Lemire who wrote for The Associated Press. It\u2019s an All-Star team is what I like to say. So that helps a ton.<\/p>\n

My voice had to rise through that and I\u2019d like to think it has, because I wasn\u2019t really known outside of Chicago before I got the job. I\u2019ve always tried to live up to the talent of the people around me.
\nNow I\u2019m gonna go win some money.<\/p>\n

Brian has reviewed over 1,500 films and his work has been featured in various outlets including Rolling Stone, Vulture, A.V. Club and The New York Times.\u00a0<\/i>
\n<\/i><\/p>\n

This interview has been edited for brevity and clarity.<\/i><\/p>\n

Photo at top: Tallerico speaks to a group of attendees at Ebertfest.
\n(Courtesy of Brian Tallerico)<\/div>\n","protected":false},"excerpt":{"rendered":"

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