Pride and Prejudice and Zombies
The small, deadpan moments in "Pride and Prejudice and Zombies" have more of an impact than the massive, noisy set pieces.
* 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.
An interview with director Kent Jones about his documentary "Hitchcock/Truffaut."
Raiders of the lost web; Eight highlights of Chicago film fest; Sexism of Bond Girls; Tarantino chats with Ellis; Enablers of pedophile culture.
A dispatch from the New York Film Festival on Arabian Nights and Les Cowboys.
A look back at the Brian De Palma film "Dressed to Kill," celebrating its 35th anniversary with a new Criterion release.
Tragic fate of a femme fatale; Rachel McAdams does fame her way; My fat, perfect wedding; Incredible shrinking worldview of Woody Allen; Marvel's war on capitalism.
The movie questionnaire and 2015 reviews of RogerEbert.com film critic Peter Sobczynski.
A look at Kimberly Pierce's 2013 version of "Carrie."
An interview with the legendary Liv Ullmann, at this year's TIFF with "Miss Julie."
An excerpt from "Tom Cruise: Anatomy of An Actor."
Why critics keep getting laid off; about That Episode of "Louie"; Robert DeNiro, anatomy of an actor; classic cars on film, posterized.
With "Doll & Em" and "Ghetto Klown", Emily Mortimer and John Leguizamo turn personal stories into wildly creative television.
Ebert Scholarship recipient Carlos Aguilar talks to four filmmakers from around the globe about American cinema, American audiences, and their experiences at the 2014 Sundance Film Festival.
The class gap caused by lack of Internet access; Andy Kaufman may be alive; Weinstein Co. wins MPAA appeal; "Carlito's Way" appreciation; Dunham and Kaling's brass tacks.
Writer Peter Sobczynski responds to our Movie Love Questionnaire.
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.
OK, this is where it really gets interesting. Forget the consensus Top 50 Greatest Movies of All Time; let's get personal. Sight & Sound has now published the top 250 titles in its 2012 international critics poll, the full list of more than 2,000 movies mentioned, and all the individual lists of the 845 participating critics, academics, archivists and programmers, along with any accompanying remarks they submitted. I find this to be the most captivating aspect of the survey, because it reminds us of so many terrific movies we may have forgotten about, or never even heard of. If you want to seek out surprising, rewarding movies, this is a terrific place to start looking. For the past few days I've been taking various slices at the "data" trying to find statistical patterns, and to glean from the wealth of titles some treasures I'd like to heartily recommend -- and either re-watch or catch up with myself.
I know we're supposed to consider the S&S poll a feature film "canon" -- a historically influential decennial event since 1952, but just one of many. I don't disagree with Greg Ferrara at TCM's Movie Morlocks ("Ranking the Greats: Please Make it Stop") when he says that limiting ballots to ten all-time "best" (or "favorite," "significant," "influential" titles is incredibly limiting. That's why I think perusing at the critics' personal lists, the Top 250 (cited by seven critics or more) and the full list of 2,045 films mentioned is more enjoyable pastime.
It's wise to remember that, although the top of the poll may at first glance look relatively conservative or traditional, there's a tremendous diversity in the individual lists. Even the top vote-getter, "Vertigo," was chosen by less than one quarter of the participants.
"Sexual Chronicles of a French Family" (76 minutes) is available via IFC On Demand.
Let's play a game. It's 3 AM and you can't sleep. A channel roulette session with the remote control stops your TV on a certain network synonymous with softcore erotica. Do you: a) Roll your eyes and keep flipping the dial before falling asleep to some warped infomercial?
b) Realize you need something more substantial and order "Chicks Who Dig Odienator 29" off the Adult On Demand Channel?
c) Drop the remote and make a date with Rosy Palm and her Five Sisters? If you answered a, Alex Trebek is here to say "OOH I'M SORRY!!" We've got some nice consolation prizes for you as you leave this blog. If you answered b, I thank for your $9.95, but you will also have to leave this blog. Today's entry is most definitely not your speed. But if you answered c, have I got a movie for you. It's called "Chroniques sexuelles d'une famille d'aujourd'hui" or "Sexual Chronicles of a French Family," and you can watch it in the privacy of your own home. I won't tell, and I certainly won't cast aspersions. After all, I pitched this movie to review here at The Demanders. After discovering the title, and its French origins, my exact pitch to our editor was "Mmmm! FILTH!" So this sinner casts no stones.
Unfortunately, this sinner has issues with this "Chronicles of Labia," the least of which is how to review a movie like this. I could take the high road, but if you've read this far, you are expecting me to traverse the lowest road possible. To review a comedy, one must admit if it inspired laughter. To review an erotic picture, one must more uncomfortably cop to whether it resulted in the upping of a body part that isn't a thumb. In that regard, I respectfully submit that this film didn't do it for me. I expected something a little less squeamish (read: dirtier) than what I got.
"Sexual Chronicles of A French Family" is Cinemax with subtitles, or "Le Çinemax." It has the same frustrating "hide the good stuff" camera angles as your average straight-to-cable softcore knock-off, and the same repeated positions. In its defense, the film does not contain Cinemax's ubiquitous bad boob jobs, the ones so dreadful that they turn breasts into triangles, squares and other shapes nature never intended for headlights. The boob job in this film looks fine. "Chronicles" also has a more intriguing plot than any sex film on cable at 3 AM, though this is somewhat squandered.
Above all it was her personality. Pauline Kael had an overwhelming presence in a conversation. There will no doubt be many discussions of Kael's work and influence and with the publication of Brian Kellow's new biography Pauline Kael: A Life in the Dark, and the Library of America's forthcoming collection of her work.
She was the most powerful, loved and hated film critic of her time, but her work cannot be discussed objectively by simply reading it. She challenges you on every page, she's always in your face, and she functioned as the arbiter of any social group she joined. She was quite a dame.
Imagine the headline: "Up" Wins Oscar for Best Cinematography. That's essentially what happened Sunday night, but the movie was "Avatar." "Up" won an Oscar for Best Animated Feature. "Avatar" won for Best Visual Effects and Best Cinematography. Realistically, "Up" and "Avatar" should have also have competed in a new category -- something like Best Computer-Assisted Animation. It's past time to acknowledge the difference between cinematography -- the photographic process that involves capturing light through a lens -- and animation or green screen work that involves compositing digital images in a computer. Both can be extraordinarily impressive. Let's just agree to call them by their right names.
"When I'm making a movie, the world goes away and I'm on Mt. Everest. Obama is President? Who cares? I'm making my movie." -- Quentin Tarantino, Village Voice interview (2009)
A wily WWII Looney Tunes propaganda movie that conjures up 1945's "Herr Meets Hare," (in which Bugs Bunny goes a-hunting with Hermann Goering in the Black Forest; full cartoon below) and the towering legends of Sergio Leone's widescreen Westerns -- and about a gazillion other movies and bits of movie history from Leni Riefenstahl to Anthony Mann to Brian De Palma -- Quentin Tarantino's "Inglourious Basterds" is a gorgeous and goofy revenge cartoon, a conceptual genre picture about the mythmaking power of cinema. Re-writing history? That's missing the point by several kilometers. This is pure celluloid fantasy -- an invigorating wallow in the vicarious pleasures of movie-watching by someone who would rather watch movies than do anything else in the world. Except maybe talk about them.
I spent the last week preparing for "Inglourious Basterds" by watching the two Tarantinos I'd missed: both volumes of "Kill Bill" and "Death Proof." (I came to think of it as the Foot-Fetish Film Festival.) So, with that in mind, I thought I'd begin by taking a general look at how I think Tarantino's movies work -- what they do, and what they don't do -- because, although I haven't read more than a few brief passages from other "Basterds" reviews yet, people seem to think there's been a lot of misrepresentation and/or misinterpretation going around (starting with Newsweek and The Atlantic). Some clearly wanted or expected the movie to be something else. A morality lesson, perhaps. But those other movies would not be ones Quentin Tarantino has ever shown any interest in making. "Inglourious Basterds," love it or hate it (and I think it puts most contemporary American filmmaking to shame), it is what it is because it's exactly the way Tarantino wants it to be. Let's consider...
Q. Having been a fan of the short-lived and vastly underrated animated series "The Critic," the episode "Siskel & Ebert & Jay & Alice" never ceases to make me laugh. Having also been a fan of yours, I wondered three things: 1. How did getting you and Gene Siskel on the show occur? 2. Did you have any say-so in your lines? 3. Were you a fan of the show?
LOS ANGELES--Roger Ebert, film critic of the Sun-Times, was granted an Honorary Lifetime Membership in the Directors' Guild of America here Saturday night, receiving two standing ovations.