A.O. Scott this week ends his 23-year run as film critic for the New York Times and most movie people are glad to see him go.
So is he. “If the film world is to become relevant again, it needs critics whose work reflects passion and advocacy, and that’s the opposite of Scott,” observes one important filmmaker who fears being quoted.
Besides, he notes, Scott didn’t leave the movies; the movies left Scott. When cinema was “hot,” a critic like Pauline Kael could stir anger or applause in Hollywood simply by walking into a restaurant.
Contentious reviews of movies like Midnight Cowboy or Bonnie & Clyde stirred as much noise as did the movies themselves.
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