HeyJaredFredrik on Film
Writings, long and short, about films, film history, film culture, film critics, and filmmakers.
- Indexed issues, last 90 days
- 3
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- Sep 1, 2026
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- Jul 19, 2026
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Contemporary mainstream cinema (summer of 2026) (opens the original)
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This summer, I went to the cinema to watch The Mandalorian and Grogu. So did a lot of kids. It was a Saturday evening, it was raining, and the audience was a large enough to make you able to get a feel for its mood. It left me puzzled.The film itself was rather boring: little dialogue, invincible hero, no stakes, not much comedy, few thrills, underwhelming effects, too clean and sterile. Mark Kermode said in his review that it was “the very definition of meh”1 and I agree. My 10-year-old nephew
Light in cinema (opens the original)
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Ever since I saw Beverly Hills Cop 2 (Tony Scott, 1987) as a teenager, light has been one of the most important things for me in film. As I have said many times, that film changed my idea of what film is and can be. My friends were all going on about the action, the guns, the one-liners, whereas I was mainly intrigued by the light and the colours. They had not noticed any of that, so I felt rather lonely.Light is one of the key aspects of cinema, yet it is rarely talked about in itself. It is as
Introducing Richard Quine and celebrating It Happened to Jane (1959) (opens the original)
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It is difficult to get a grip on Richard Quine. His career is full of failures, dead ends, and disappointments. At the same time, it is full of wonders, of greatness, and of moments when the appropriate comparison is Hitchcock. He made light musicals and dark melodramas, a lot of work for television, and he worked with a select group of recurring men and women. He fascinates me and has been a subject for further research for some time.1<a class="image-link image2 is-viewable-img" href="http
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