The November Man
In this excitingly nasty but ultimately confused action picture, Pierce Brosnan plays a retired government hitman drawn out of retirement to untangle a global political…
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
A piece on the best releases new to streaming services and Blu-ray in the last two weeks, including "Noah," "Scanners," and "Life After Beth."
Kevin Spacey discusses the timelessness of William Shakespeare, impact of Hill Street Blues, and the moment he knew he was an actor.
Oliver Stone discusses "Born on the Fourth of July" with Editor-in-Chief Matt Zoller Seitz at the 16th Annual Roger Ebert's Film Festival.
With "Doll & Em" and "Ghetto Klown", Emily Mortimer and John Leguizamo turn personal stories into wildly creative television.
Writer Brian Tallerico responds to our Movie Love Questionnaire.
Tragedy strikes at SXSW; Nebulous platitudes and James Franco; TV actors don't need movies; Connecting The Sopranos and Irreversible; Eviscerating Nymphomaniac: Vol I.
Remembrances of Philip Seymour Hoffman.
Simon Abrams on two sequels: "The Trip to Italy", the sequel to the hilarious "The Trip", and "The Raid 2".
The AV Club picks 33 TV shows to binge on over the long weekend; a black writer explains why it's hard to watch 12 Years a Slave with a white person; how Supergirl, of all movies, changed the way Hollywood treated Thanksgiving.
Scorsese, De Niro reuniting on a new gangster film; Zadie Smith on life, death, Warhol; Spike Lee speaks; our ancestors didn't sleep like us; Van Sant to headline a LGBT film fest in St. Petersburg.
RogerEbert.com editor Matt Zoller Seitz and contributor Steven Boone discuss "Untold History," a documentary series by Oliver Stone and Peter Kuznick that presents an alternative history of the United States and its role in recent world history.
Brian De Palma talks about his new film "Passion," his long career and seeing one of his most famous films, "Carrie," get a remake.
Peter Sobczynski ranks 27 films by Brian De Palma.
Director John Greyson ("Patient Zero") arrested in Cairo; novelist John Niven writes about his brother's suicide; David Kalat and David Ehrenstein reconsider Disney's SONG OF THE SOUTH; top 10 movies about technology; how soon is too soon for artist's to re-create real-life political violence in entertainment? Will success spoil Rose Byrne? Why is your posture so terrible? Why all the question marks? Click the link.
What happens when actors play themselves? Something funny, and often magical, as this Leigh Singer supercut proves. Text by Matt Zoller Seitz.
"I believe he's not guilty."
"Are you sure?"
"No, but I have a reasonable doubt."
The last words spoken in David Mamet's HBO feature film "Phil Spector" are "reasonable doubt." The first words appear in white letters on a black screen:
This is a work of fiction. It's not "based on a true story." ... It is a drama inspired by actual persons on a trial, but it is neither an attempt to depict the actual persons, nor to comment upon the trial or its outcome.
I'm not quite sure what that means (beyond "Don't sue us") -- but it sounds a little like one of Mamet's nonsensical latter-day post-right-wing conversion rants. (Read Mamet's 2008 Village Voice essay, "Why I Am No Longer a 'Brain-Dead Liberal'" and see if you can figure out how he went from an unthinking, ignorant knee-jerk lefty to an unthinking, ignorant knee-jerk conservative. It has something to do with NPR, but what was he listening to? "Car Talk"? He doesn't say -- only that he believes in choosing one's political positions and convictions the way you would choose a sports team to root for, based on your affection for a place and whatever colors you feel are the most flattering this season.)
• As told to Roger Ebert
Al Pacino, Christopher Walken and Alan Arkin walk into a hotel room, and that sounds like the set-up for a joke. It's more like a long-delayed punchline. These guys have been stars for more than 40 years, but until "Stand Up Guys," they've all three never been in a movie together. Arkin and Pacino were in "Glengarry Glen Ross" together, and Walken and Pacino were both in "Gigli," but that's as far as it goes.
I mention they go way back.
"Yes, absolutely," Walken says. "I've known Al for decades, from New York and from, you know..."
"He didn't know I was an actor," Pacino says, "until we did this movie. He'd just see me around the street a lot."
Marie writes: Kudos to fellow art buddy Siri Arnet for sharing the following; a truly unique hotel just outside Nairobi, Kenya: welcome to Giraffe Manor.
Marie writes: And so it begins! A new year and another season of Film Festivals and Award shows. The Golden Globes have come and gone and in advance of quirky SXSW, there's Robert Redford's Sundance 2013...
Happy New Year from the Ebert Club!TRAILERS
Marie writes: Christmas is almost upon us, and with its impending arrival comes the sound of children running free-range through the snow, while grown-ups do battle indoors in the seasonal quest to find the perfect gift...
Marie writes: "let's see what happens if I tickle him with my stick..."(Photo by Daniel Botelho. Click image to enlarge.)
"The Godfather Part III" is one of my favorite movies. I admit a personal obsession with the film that would have never existed had it simply been either good or bad. Some fans of the series clearly love to hate it; they equate Sofia Coppola's presence to that of Jar Jar Binks in the "Star Wars" trilogies, but I believe this is an over-simplification. "Part III" is an uneven picture that could and should have been great. That's what's maddening about it.
Marie writes: Intrepid club member Sandy Kahn came upon the following recipe and wisely showed it to me, so that I might share it in turn with all of you. Behold the morning chocolate cookie - a healthy breakfast treat loaded with good stuff; like fiber and imported French chocolate.
"A man can be an artist ... in anything, food, whatever. It depends on how good he is at it. Creasey's art is death. He's about to paint his masterpiece." -- Rayburn (Christopher Walken), "Man on Fire" (2004)
While I've never been a fan of the late Tony Scott or Christopher Nolan, a few thoughtful articles in recent days have helped me see them in new lights, and got me to thinking about their resemblances as well as their dissimilarities. Several appreciations of Scott (especially those by Ignatiy Vishnevetsky, Bilge Ebiri, David Edelstein and Manohla Dargis), along with David Bordwell's incisive essay on Christopher Nolan ("Nolan vs. Nolan") got me to thinking about the common assumptions about these popular filmmakers, both of whom are known for quick, impressionistic imagery, intercut scenes, slam-bang action and a CGI-averse insistence on photographing the real world.¹ Regardless of what you ultimately make of their work, there's no question they've done it their way.
This is an attempt to look at both filmmakers through the prism of others' points of view, refracted in critical appraisals like the above.
Of course, Scott and Nolan have passionate admirers and detractors. Until Scott's shocking suicide last week (from a bridge, a landmark that figures hauntingly in the climaxes of several of his movies), I wasn't aware of many critics who championed his movies, but with a few exceptions the obits seem to have been more admiring than the reviews over the years -- understandably, under the sad circumstances.
Those who applaud Scott and Nolan's films see them as genre boundary-pushers (thrillers, action pictures, science-fiction, superhero movies); those who denigrate them see them as symptomatic of the debasement of resonant imagery in modern Hollywood movies. Both have been subjected to that worst of all critical insults, comparisons to Michael Bay:
"'Inception' may have been directed by Christopher Nolan, but Nolan's dreams are apparently directed by Michael Bay." -- Andrew O'Hehir, "Inception: A clunky, overblown disappointment"
"If it sounds like I'm describing Michael Bay, that's because I sort of am. What we like to think of today as the Bay/Jerry Bruckheimer aesthetic was, in fact, originally the Tony Scott aesthetic (often deployed in films made for Bruckheimer and his late partner Don Simpson). Only back then there was a lot more art to it." -- Bilge Ebiri, "To Control Something That's Out of Control: On Tony Scott"
One of Scott's notable defenders has been The New York Times' Manohla Dargis. She identifies him as a "maximalist" who used "a lot of everything in his movies: smoke, cuts, camera moves, color. This kind of stylistic, self-conscious excess could be glorious, as in his underappreciated film 'Domino' (2005)," which Roger Ebert also somewhat grudgingly admired, quoting a character to describe the movie itself as having "the attention span of a ferret on crystal meth." Dargis writes: