David O. Russell out-Scorseses Martin Scorsese himself with "American Hustle," a rollicking '70s crime romp that’s ridiculously entertaining in all the best possible ways.
* 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.
Alice Munro wins Nobel Prize in literature; film critic Stanley Kauffmann dies at 97; SF Film Society director Ted Hope steps down; documentary oversaturation; Will Self on the changing role of the critic.
Marie writes: As the dog days of summer slowly creep towards September and Toronto starts getting ready for TIFF 2013, bringing with it the promise of unique and interesting foreign films, it brought to mind an old favorite, namely The Red Balloon; a thirty-four minute short which follows the adventures of a young boy who one day finds a sentient red balloon. Filmed in the Menilmontant neighborhood of Paris and directed by French filmmaker Albert Lamorisse, The Red Balloon went on to win numerous awards and has since become a much-beloved Children's Classic.
Director Laurent Cantet accepts the Palme d'Or, surrounded by his cast.
For the first time in 21 years, a French film has taken the top prize at the Cannes film festival, and in a rarity for Cannes, the Palme d’Or was awarded unanimously. The prize could have easily been named “The Golden Apple” rather than the The Golden Palm since it went to “The Class” ("Entre Les Murs"), the Laurent Cantet film about a young teacher who tries to reach his class of primarily immigrant children in a school on the outskirts of Paris. Confronted with their apathy and sometimes outright hostility, he questions them in a Socratic fashion until they begin to ask themselves if perhaps an education might be relevant to them. This film moved me to tears and so of course I thought that, in the grand tradition of Cannes, it had no chance of winning the top prize.
By Roger Ebert
Q. In your review of "The Simpsons Movie," you mention that it is already voted as the 166th best film of all time on the Internet Movie Database and ask, "Do you suppose somehow the ballot box got stuffed by 'Simpsons' fans who didn't even need to see the movie to know it was a masterpiece? D'oh!" Likewise, readers of your own Web site on the morning of the film's release already gave it a four-star rating. Don't you think these are merely fans of the movie showing their contempt for you and all other reviewers, and in fact for any but their own opinions?
The complete list of the 79th Annual Academy Award nominations were announced Tuesday at the Academy of Motion Picture Arts and Sciences in Beverly Hills, Calif.
Nothing that has happened since the Academy Awards nominations were announced has swayed me from my immediate conviction that "Chicago" will be the big winner on Oscar night. I know that "The Pianist" was named best film by the British Academy. I know "The Hours" was honored for its screenplay at the Writers Guild Awards. But, hey, I also know the Directors Guild honored Rob Marshall for "Chicago" over Martin Scorsese--and when a rookie can outpoll a living national treasure in a vote of directors, there's a bandwagon on the way."Chicago" is not the best of the nominated films. That would be "Gangs of New York." But you have to understand that the academy doesn't vote for the best film. It votes for the best headline. This year, it sees big type that shouts "The Musical Comes Back!" Having failed to honor "Moulin Rouge!" last year, the academy will vote this year the way it thinks it should have voted the year before. (Example: The 2001 Oscar for best actor went to Russell Crowe, who more reasonably should have won a year earlier for "The Insider.") Here are the major categories and my predictions:
"Chicago" waited 27 years to make the transition from stage to screen, but finished strong, winning 13 nominations Tuesday as the 75th annual Academy Awards nominations were revealed. After last year's best-picture nod for "Moulin Rouge," the movie's front-runner status signals a rebirth of the movie musical.
It was a year when more movies opened than during any other year in memory. A year when the big Hollywood studios cast their lot with franchises, formulas, sequels, and movies marketed for narrow demographic groups--focusing so much on "product" instead of original work that they seemed likely to be shut out of the Oscars, as they were essentially shut out of the Golden Globes. A year when independent and foreign films showed extraordinary vitality. A wonderful year, that is, for moviegoers who chose carefully, and a mediocre year for those took their chances at the multiplex.