Mark Kermode: The next generation of film critics will come from the internet

We sent Bim to Cuddle her Favourite Critic.

Do you know what fancy rich people like? Deep in the heart of discreet wealth, aka the lobby of The Savoy, I discovered the answer. You ready? It’s mirrors. Rich people love them - can’t get enough of ‘em. I suppose it makes all that opulence gleam a little brighter, all that reflection... But I digress. Because thrilling as drying my hands on an actual cotton hand towel was, I was not at the hotel to report from the frontline of Broken Britain. No, I was there because of an internet miracle, in which I got to meet and interview Mark Kermode, based on a single paragraph I wrote in last week’s column. Following the introduction of a new enterprise, Cuddle-A-Critic, I mentioned my long-time admiration for Mr Kermode (here’s a sample tweet from last December, so you know it’s real), his reviews and his hair.

Mere hours later, my phone pinged, informing me of a new reply on Twitter. It was Mark, and it read: “Glad the hair won through in the end. Nice article.

Days later, I was placing a Dictaphone on a table for a chat. The internet wins again. 

We spoke for half an hour and he was, as expected, so insightful and interesting and generous that I forgot to take any shorthand. Below is a mere slice of our conversation. And before you ask, the answer is yes: the quiff is even more magnificent in 3-D. 

On U-turns and ‘getting it wrong’

One of the questions you get asked as a critic is ‘do you get things wrong?” Of course you do. You change. As I’ve always said, criticism is in the end to do with an opinion. Factual stuff is factual and you do need to get that right. Contextualisation is contextualisation. Knowledge is knowledge. But opinion is your opinion.

And it is really strange going back and looking at something about which you were convinced. I mean, I walked out of Blue Velvet when I saw it. I stormed out and wrote a really angry review of it. Three years later I went back and saw it again and realised it was one of the greatest movies ever made. Part of getting it wrong was part of the learning process. What I discovered from Blue Velvet was, if a movie really gets under your skin, you can go either way with it. And whereas it’s possible to love great movies, and hate really bad movies, it’s the movies you love and hate at the same time that are really exceptional. 

When AI first came out, I didn’t like it at all. I remember I was really cruel about it. Years later, we did a Culture Show interview with Spielberg for his 60th birthday and I apologised to him. And he said: “Well, it’s interesting. You’re only the second critic to apologise to me. The first one was Vince Canby” - who apparently shitcanned Close Encounters. So it was a slightly different scale, but you know. 

 

On his process

I don’t make notes during the film. I do that afterwards, at the end of the day. One of the things we do on the blog are these immediate responses. But that’s not a review; it needs time to settle down. I mean my response to Killer Joe was very different after a few days of letting it settle. Firstly, you have to figure out what you think. Your opinion is your opinion.

One of the things I did in The Good, The Bad and the Multiplex was attempt to do a definition of what a good review is. And there were a number of different categories but the basic things were: to describe the film adequately. You have to know where the film comes from and contextualise it properly. You have to assess it on its own terms – if it’s a comedy, did you laugh? And then beyond that, there is your reaction to it, that which you cannot change or be anything other than honest about. The worst thing you can do is attempt to second guess the audience because: a) you’ll always get it wrong; and b) you’ll regret it. It’s much better to be honestly, completely wrong than to be dishonestly closer to being ‘right’. 

On bias

I get accused of being soft on Friedkin. I don’t think I have gone soft on him; there are times when I think he’s made very disappointing films. But it is undoubtedly the case that I will go into any Friedkin film with a sense of expectation. The same is true of Paul Thomas Anderson. Because like anybody else, they’re making a body of work and it’s mad to suggest that that doesn’t affect you. You can’t write yourself out of it. What you have to do is be upfront about it. 

And people can surprise you – Guy Ritchie, who I think has made some of the worst movies ever, then made the Sherlock Holmes films, where he’s referring to Hammer, and getting the characters right... You have to be open-minded.

On his favourite critics and the art of criticism

Absolutely Nigel Floyd. He’s my kind of mentor. He writes for Time Out and when I used to work in Manchester at City Life magazine, I used to edit Nigel’s copy, when it came to the regionals. You’d read it, and there’d just be nothing to cut. I tell you, it’s not until you’ve subbed somebody’s copy that you know what good copy looks like. And I met him when I came to London and he was really kind to me at Time Out and sort of took me under his wing. He’s now one of my closest friends but in terms of writing, I still just regularly read his stuff and go ‘bugger’, because I’d give my right arm to write like that. We disagree about loads of films but it doesn’t matter. The opinion is not the point. He’s pithy, too. That’s a real craft. 

Philip French writes with grace and wit and humour, and even when I don’t agree with what he says, it’s the way it’s expressed. He was recently recognised in the New Year's Honours list and I tweeted that he was recognised for consistently elevating the profession. I feel very passionate about film criticism as a craft, a profession. 

I think we live in a time in which criticism is not taken seriously, as an art form. I’m not saying for one minute I consider what I do to be art – it’s not. But there are people who are up there at the top of the tree: Roger Ebert, Dilys Powell, Pauline Kael, Anne Billson... They know what they’re doing. And they write in a way that is elegant and funny and witty. It’s a craft. 

On a new generation of critics

The next generation of critics will come from the internet. There’s a misconception about the internet, which is that blogging is changing and devaluing criticism. It hasn’t. At the beginning of any new way of dispersing information, there’s a kind of sense of anarchic freedom: you suddenly have a gaggle of voices. When Roger Ebert started doing his TV show with Siskel, people wrote essays about how it was the end of film criticism. What they didn’t realise is that it’s just another way of doing it. 

I still think of myself as a writer, but I’m primarily known for the radio show. I love radio, and I know there are people out there who look at me and say “This is what we have? THIS? Some guy blathering in a studio?” But it’s just all different ways of doing it. And blogging is clearly the future. It will settle down and the good will emerge and it will come down to the same basic rules: are you doing the job properly? Do you know what you’re talking about? Are contextualising? Are you writing wittily and entertainingly and engagingly? I have no doubt that right now out there, there is some smart 16-year-old woman or man, who’s writing powerful stuff that in ten years’ time will be held up.

Mark Kermode. Photo: Getty

Bim Adewunmi writes about race, feminism and popular culture. Her blog is  yorubagirldancing.com and you can find her on Twitter as @bimadew.

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Calum Kerr on Governing the Digital Economy

With the publication of the UK Digital Strategy we’ve seen another instalment in the UK Government’s ongoing effort to emphasise its digital credentials.

As the SNP’s Digital Spokesperson, there are moves here that are clearly welcome, especially in the area of skills and a recognition of the need for large scale investment in fibre infrastructure.

But for a government that wants Britain to become the “leading country for people to use digital” it should be doing far more to lead on the field that underpins so much of a prosperous digital economy: personal data.

If you want a picture of how government should not approach personal data, just look at the Concentrix scandal.

Last year my constituency office, like countless others across the country, was inundated by cases from distressed Tax Credit claimants, who found their payments had been stopped for spurious reasons.

This scandal had its roots in the UK’s current patchwork approach to personal data. As a private contractor, Concentrix had bought data on a commercial basis and then used it to try and find undeclared partners living with claimants.

In one particularly absurd case, a woman who lived in housing provided by the Joseph Rowntree Foundation had to resort to using a foodbank during the appeals process in order to prove that she did not live with Joseph Rowntree: the Quaker philanthropist who died in 1925.

In total some 45,000 claimants were affected and 86 per cent of the resulting appeals saw the initial decision overturned.

This shows just how badly things can go wrong if the right regulatory regimes are not in place.

In part this problem is a structural one. Just as the corporate world has elevated IT to board level and is beginning to re-configure the interface between digital skills and the wider workforce, government needs to emulate practices that put technology and innovation right at the heart of the operation.

To fully leverage the benefits of tech in government and to get a world-class data regime in place, we need to establish a set of foundational values about data rights and citizenship.

Sitting on the committee of the Digital Economy Bill, I couldn’t help but notice how the elements relating to data sharing, including with private companies, were rushed through.

The lack of informed consent within the Bill will almost certainly have to be looked at again as the Government moves towards implementing the EU’s General Data Protection Regulation.

This is an example of why we need democratic oversight and an open conversation, starting from first principles, about how a citizen’s data can be accessed.

Personally, I’d like Scotland and the UK to follow the example of the Republic of Estonia, by placing transparency and the rights of the citizen at the heart of the matter, so that anyone can access the data the government holds on them with ease.

This contrasts with the mentality exposed by the Concentrix scandal: all too often people who come into contact with the state are treated as service users or customers, rather than as citizens.

This paternalistic approach needs to change.  As we begin to move towards the transformative implementation of the internet of things and 5G, trust will be paramount.

Once we have that foundation, we can start to grapple with some of the most pressing and fascinating questions that the information age presents.

We’ll need that trust if we want smart cities that make urban living sustainable using big data, if the potential of AI is to be truly tapped into and if the benefits of digital healthcare are really going to be maximised.

Clearly getting accepted ethical codes of practice in place is of immense significance, but there’s a whole lot more that government could be doing to be proactive in this space.

Last month Denmark appointed the world’s first Digital Ambassador and I think there is a compelling case for an independent Department of Technology working across all government departments.

This kind of levelling-up really needs to be seen as a necessity, because one thing that we can all agree on is that that we’ve only just scratched the surface when it comes to developing the link between government and the data driven digital economy. 

In January, Hewlett Packard Enterprise and the New Statesman convened a discussion on this topic with parliamentarians from each of the three main political parties and other experts.  This article is one of a series from three of the MPs who took part, with an  introduction from James Johns of HPE, Labour MP, Angela Eagle’s view and Conservative MP, Matt Warman’s view

Calum Kerr is SNP Westminster Spokesperson for Digital