Critics Corner: Adam Kempenaar

Adam Kempenaar us the co-hosr and founder of the Chicago based podcast, Filmspotting.  He spoke with TFR about his experience studying film in college and how he went on to become a film critic

What were your early experiences of film and what were the films that made you realize you wanted to be involved in film later in life?

My first experience being exhilarated at the movies was seeing "Star Wars" at the drive-in when I was probably 5 years old. The two movies that had the biggest impact on me in terms of really becoming a cinephile and wanting to also make movies were "Reservoir Dogs" and "Blue Velvet." I saw both during the summer before my senior year in high school. Those were the first movies where I was keenly aware of a director's hand at work – that there was an artist, in collaboration with other artists, who was responsible for what I was watching.

Was it always film criticism that you leaned towards or did you ever try your hand at filmmaking? If so, how did criticism win out in the end?

I was definitely focused on making movies initially. I spent a year in the MFA program for Film & Video Production at Columbia College Chicago and made a handful of short films and videos there. I was proud of my work - such as it was - but recognized at some point that there was something missing. I don't think I had much to say. I was also the type of person who was interested in some security, getting married, starting a family. I found a job in the media field that allowed me to use my video editing skills, which led to more work in journalism. As a grad student in journalism and film at the University of Iowa, I had my first opportunities to write reviews for the student newspaper and also do a weekly radio show on the campus radio station. Some of the current segments we do on Filmspotting – Top 5 lists, Massacre Theatre - were part of that original show, "Burn Hollywood Burn."

From my extensive research of your website I gather you studied film in college. Do you think it set you up well the job you have now?

I would never say a degree in film or filmmaking is required to be a critic, but it certainly helps. The basic vocabulary, the whole foundation really for what we discuss every week, comes from the time I spent as a student studying film and also making them – not to mention getting exposed to some essential pieces of cinema.

Who are your film critic idols?

So many. Roger Ebert was my first. David Edelstein was one of the first web critics I followed regularly, when he was with Slate. A.O. Scott and Michael Phillips are always smart. Scott Tobias and all the ex-Dissolve folks always inspire me. I appreciate the erudition and brashness of Calum Marsh. Matt Zoller Seitz and Kevin B. Lee, especially for their video essays.

Seeing as FS is a podcast you might be somewhat biased but do you think the internet has been a good thing for film criticism? Anyone with a web-cam or blog can be a critic now, do you think the standard's been lowered because of this?

At the end of the day content and quality win out. Yes, anyone with an Internet connection can be a critic now, but if you have nothing to say nobody will care.

Finally, it’s the obvious one, what advice would you have for film students looking to pursue film criticism in the future?

Read, watch, write voraciously. Embrace criticism as a conversation between you and your audience. Don't waste energy recapping plot, and don't approach reviewing as a scorecard of good/bad. You should be personal and wrestle with ideas.