Here at Advice Cred, we don’t want to just give you the groundwork — we also want you to have access to the wisdom of writers and editors who have been a part of this community for years. Cody Corrall is one such writer — an experienced professional with articles and essays found on our very own Film Cred, as well as Thrillist, Paste Magazine, Cine-File, and the Chicago Reader. Currently working as a News Curation Editor at BuzzFeed News, Cody’s time as both a freelance critic and a member of the Chicago Film Critics’ Association have proven to be invaluable in helping to shape Cody’s voice, and now he’s sharing that expertise firsthand with fresh writers hungry for a bit of guidance.
Film Cred: First thing’s first, who are you and what is your experience in relation to film criticism?
Cody Corrall: Hi! I’m Cody Corrall. Currently a News Curation Editor at BuzzFeed News and Content Editor at Film Cred. I’ve written about film and culture for the Chicago Reader, Thrillist, Paste Magazine, and Cine-File. I am also a member of the CFCA and sometimes dabble as a juror for film grants and sit on selection committees for local film festivals.
FC: What was your first published movie review?
CC: My first published review was of Bo Burnham’s directorial debut Eighth Grade for the Chicago Reader.
FC: How did you get into film criticism?
CC: I always wanted to be a writer when I was a kid, but had no idea how to go about that. Writing an entire book seemed impossible (still does to this day!) and I wasn’t sure how viable writing short fiction could be in the long term. I stumbled through various majors in college before finding a love for journalism and media studies halfway through my college career. I worked at my school’s newspaper and online magazine to hone in on my craft as a writer and editor. In 2018, I reached out to the Chicago Reader about being an intern for their film section — a position that didn’t quite exist — and got a response back from the editor at the time asking if I wanted to try covering an upcoming release instead. I pitched a review of Eighth Grade and honed in on the fact that I was a young writer and could tackle the film’s themes about growing up with technology in a way that most outlets wouldn’t be doing. The pitch was accepted, and I’ve had a working relationship to the Reader since then, and was able to use those bylines to branch out to other publications.
FC: Do you follow a particular film theory (formalism, structuralism, etc.)?
CC: Most of my work tends to lean towards structuralism. I find that a lot of what I have to say about a piece of work relies on how it fits within the culture of our current moment. Though of course these things are subjective and change over time, I think it’s important to have a record of a moment in time and analyze how a film fits into — or challenges — that moment. I also am fascinated by theories of genre and form, and how films play into, or disrupt, those norms. Much of the films I’m interested in covering tackle themes of representation, especially from a queer and trans perspective, so I also am often thinking about queer theory, performance theory, and the “burden” of representation as it relates to tokenism.
FC: What do you think the structure of a good review should be?
CC: This varies a lot depending on the film for me, but I tend to get straight to the point and try to cut through the noise as best I can. Much of my criticism sensibilities were built on writing a lot of capsule reviews for the Reader and Cine-File (around 100-200 words) which helped me get to the heart of the review without losing the reader with a plot synopsis they can already find on Google. I think writing short reviews in that style can be a really great exercise in figuring out a strong thesis, and a point of view, that you can then expand upon for a standard review.
FC: Who is a film critic you admire?
CC: Too many to list! But currently I love the work from Sydney Urbanek, Chingy Nea, Willow Catelyn Maclay, Caden Mark Gardner, Jourdain Searles, Shayna Maci Warner, Robert Daniels, and Brianna Zigler — and of course, I always go back to the legends Roger Ebert, Susan Sontag, and Pauline Kael.
FC: Do you read other reviews before you write your own review?
CC: For reviews of new releases, I don’t read other reviews as to not sway my own opinions. But when working on a feature or a retrospective of an older film, I am very research heavy and try to pull reviews from all over — newspaper archives, websites, academic journals, books — to get a fully exhaustive look at the film’s reception and impact.
FC: What is your method for note-taking for a movie review? Do you take notes as you watch films?
CC: I am a very traditional “writes notes in a physical notebook” kind of critic. I tend to be very forgetful, so I like to write down quotes that speak to me, technical elements like the score and cinematography, and themes and questions that I have that help center me and my thoughts as I go to flesh out a review. I will also say that if you go to in-person screenings, you will have to learn how to write somewhat legibly in the dark!
FC: When sending a pitch to a publication, how long do you wait before checking in?
CC: I usually wait a week to follow up, and then maybe another week after that before I move on and pitch elsewhere.
FC: How do you handle writer’s block and burn out?
CC: Oftentimes I get most of my inspiration when I watch something new that speaks to me, or revisit a film that leaves me with questions. I don’t write about a lot of new releases anymore because I often felt the pressure to write something when I didn’t have much to say about it. Now I am much more selective when it comes to pitching and writing, which is a privileged position to be in! But it allows me to think a lot more about what it is I want to say and why. Also reading criticism and film theory is always a good place to get the gears turning again in my experience.
FC: Do you have any advice for aspiring film critics?
CC: Resist the urge to directly compare yourself to other people in this field. It can feel like a very competitive and demoralizing industry at times, especially when there are so few staff jobs at any given publication. But everyone’s journey is different. It’s a lot of work, but it’s also a lot of luck and connections. It’s cheesy, but what matters at the end of the day is the quality of your work and that you continue to enjoy doing it. Also, join a local critics group! It can be super helpful when it comes to getting access to film titles, and it gives you a chance to be in a community with film lovers in your area.
FC: Are there any books or articles that you would recommend a new writer read?
CC:
Film – The Celluloid Closet, Scorsese by Ebert, On the History of Film Style, The South Never Plays Itself, and I Lost It at the Movies
TV – Gay TV and Straight America, I Like to Watch: Arguing My Way Through the TV Revolution, and Wallowing in Sex: The New Sexual Culture of 1970s American Television
FC: As someone who got to witness and support the push for the BuzzFeed Union agreement firsthand, what advice would you give to someone trying to advocate for better conditions at a publication they’re employed by?
CC: Solidarity is everything, especially in a field that can feel so cutthroat and solitary. It’s only when we have respect and care for our fellow workers that we can build collective power and fight for our rights. Talk to your coworkers! Talk about your pay! Talk about things you wish your employer could give you that would change your life — and what you can do to make that a reality, because you likely can. We’re always going to be stronger together. Also, I feel that a lot of people don’t know that there is a union for freelancers! (IWW FJU) Freelance and contract workers are often not included in unions at a given publication, which sucks because they don’t have the luxury of stable employment, and they tend to be great organizers!
FC: As someone who’s written for a wide-range of different publications, how do you decide which outlet is best for a pitch?
CC: I don’t pitch as much as I used to, but I often had a “throw some ideas around and see what sticks” mentality. I mostly pitch features rather than reviews, so I try to focus on how it would fit into the site’s voice. (Paste felt like a natural home for a weird essay about Frank Sidebottom, Girls on Top for a semi-forgotten film by Joan Tewkesbury, Thrillist for pieces on niche film+internet communities, etc.) I read the sites I pitch to often because I am a fan of them, so I have a pretty good idea of what they’re looking for. Establishing relationships with these editors over time also helps solidify that voice.
FC: What are some things that might be good to know for a freelancer who has been freshly hired to a more stable and regularly-contributing employment position?
CC: I’ve never been a full time freelancer (bless them and their time management skills!) and have for the last few years done the film criticism thing on the side while being in a more traditional journalism job. I don’t have a great answer for what that transition would be like, but I will always say you should join a union! Also, take the time to learn about health care plans, 401k matching, PTO (It sounds boring and awful, but it’s very important!!)
For more from Cody, you can check out just a fraction of his incredible portfolio at BuzzFeed, Thrillist, Paste, and Film Cred, as well as following him on Twitter @codycorrall. And for more resources for fresh writers, including more interviews with various industry talents, be sure to check out film-cred.com/advice.
