The Bye Bye Man
The Bye Bye Man is the kind of film that is so boring and bereft of anything of possible interest that it becomes infuriating.
* 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 tribute to the late Debbie Reynolds.
The staff remembers Carrie Fisher.
A tribute to the late Carrie Fisher.
A CIFF 2016 dispatch on Fisher Stevens and Alexis Bloom's "Bright Lights," Julia Ducournau’s "Raw," and Ken Loach's "I, Daniel Blake."
A recap of highlights of the 2016 New York Film Festival.
A celebration of Brian De Palma's "Carrie" on the occasion of its 40th anniversary and a new Collector's Edition Blu-ray from Shout! Factory.
An interview with Fisher Stevens, the director of Before the Flood, from TIFF.
The Alliance of Women Film Journalists presents its list of top female fiction characters.
A new breed of female lead; A tale of two Fishers; Penn's hate-watch for the ages; "Paterson" is perfection; "The Salesman" marks Iran's post nuclear deal cinematic resurgence.
Jessica Ritchey's poetic remembrance of the final months of her father's life, through the movies she saw.
A piece on how the 2015 award season reflects a thriving marketplace for older moviegoers.
The film that Fox packaged with "Star Wars" to get theaters to play a little space opera no one had heard of was "The Other Side of Midnight." Jessica Ritchey looks back at a surefire hit that became a trivia answer.
Deborah Kampmeier on "SPLit"; How the Bushes misunderstood Cheney; First 10 minutes of 500 movies; Daisy Ridley chats with Carrie Fisher; Fear the chick flick.
The final trailer for "Star Wars: The Force Awakens" has arrived.
An overview of the films that will be theatrically released in the 2015 fall season.
Highlights of the live-action portion of 2015's D23, featuring "Star Wars: The Force Awakens," "Captain America: Civil War," and more!
New era of multicultural television; Birdmen of Tinseltown; Ten required movies for 'Mad Men' cast and crew; Nimoy's photos changed my life; Nick Kroll is leaving because he can.
Barbara Scharres Reports on the World Premiere of David Cronenberg's Map to the Stars.
What changes when "Star Wars" is dubbed in Navajo? More than you might think.
Marie writes: If you're like me, you enjoy the convenience of email while lamenting the lost romance of ink and pen on paper. For while it's possible to attach a drawing, it's not the same thing as receiving hand-drawn artwork in the mail. Especially when it's from Edward Gorey..."Edward Gorey and Peter Neumeyer met in the summer of 1968. Gorey had been contracted by Addison-Wesley to illustrate "Donald and the...", a children's story written by Neumeyer. On their first encounter, Neumeyer managed to dislocate Gorey's shoulder when he grabbed his arm to keep him from falling into the ocean. In a hospital waiting room, they pored over Gorey's drawings for the first time together, and Gorey infused the situation with much hilarity. This was the beginning of an invigorating friendship, fueled by a wealth of letters and postcards that sped between the two men through the fall of 1969."
Marie writes: Why a picture is often worth a thousand words...Production still of Harold Lloyd in "An Eastern Westerner" (1920)
Psychologists say that depression is rage turned inward. Stand-up comedy, on the other hand, is rage turned back outward again. (I believe George Carlin had a routine about the use of violent metaphors directed at the audience in comedy: "Knock 'em dead!" "I killed!") In the documentary "Heckler" (now on Showtime and DVD) comedian Jamie Kennedy, as himself, plays both roles with ferocious intensity. The movie is his revenge fantasy against anyone who has ever heckled him on stage, or written a negative review... or, perhaps, slighted him in on the playground or at a party or over the phone or online.
"Heckler" (I accidentally called it "Harangue" just now) is an 80-minute howl of fury and anguish in which Kennedy and a host of other well-known and not-well-known showbiz people tell oft-told tales of triumphant comebacks and humiliating disasters, freely venting their spleens at those who have spoken unkindly of them. At first the bile is aimed at hecklers in club audiences (with some particularly nasty invective for loudmouthed drunken women), then it shifts to "critics" -- broadly defined as anybody who says something negative about a figure whose work appears before a paying public. Some of the critics are actually interested in analysis; some are just insult comics who are using the Internet as their open mic. It gets pretty ugly, but it's fascinating -- because the comics, the critics and the hecklers are so much alike that it's no wonder each finds the others so infuriating.
The Real World: Atlanta.
The New York Times Book Review wastes nearly four pages on the dumbest, most banal crap about (ostensibly) movies and movie criticism that I have ever come across. It's called "How to Write About Film" and it's an attempted review by Clive James of the Philip Lopate compilation of film criticism that was published a few months ago, called "American Movie Critics: An Anthology From the Silents Until Now."
What's really puzzling about this drivel is that James not only doesn't know what the auteur theory is, he doesn't know what movie criticism is -- and he hasn't a clue what movies are, either. I find it difficult to believe he's ever seen one. Or, at least, a whole one. And no matter what projected images may have passed before his eyes, it's mighty obvious he hasn't seen anything at all.
LOS ANGELES This is a very small anecdote, but maybe it will lead somewhere. I went to interview Albert Brooks out at his office at Warner Bros. We were going to talk about "Defending Your Life," his new comedy about a man who discovers the afterlife is a place named Judgment City, and you go on trial there. We had a good talk.