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.
The writers of RogerEbert.com on some of our favorite performances of 2015.
An interview with writer/director Andrew Haigh and actor Tom Courtenay regarding "45 Years."
Contributors to RogerEbert.com each list their favorite films of 2015.
The ten best films of 2015.
A news story on the 2015 CFCA nominees.
A report from the 2015 Los Cabos International Film Festival.
A preview of the 2015 Chicago International Film Festival.
A recap of the 2015 Toronto International Film Festival by the contributors who were there.
Three films from TIFF 2015 starring Natalie Portman, Charlotte Rampling and Helen Mirren.
Aging heroes won't give up the gun; Why sex scenes for over-60s are taboo; Trump's resemblance to Citizen Kane; Last films of Fritz Lang; RIP Wes Craven.
An appreciation of Richard Lester as a retrospective of his work is about to unfold in New York City.
The movie questionnaire and 2015 reviews of RogerEbert.com film critic Susan Wloszczyna.
Crime dramas continue to dominate with the premieres of American Crime & CSI: Cyber and the return of Broadchurch.
Our most anticipated films of the 2015 Sundance Film Festival.
An excerpt from the October 2014 edition of "Bright Wall/Dark Room" on "The Hunger."
Picks for the best of the 2013-14 television season, in the form of a Dream Emmy ballot.
Writer Susan Wloszczyna responds to our Movie Love Questionnaire.
Marie writes: Much beloved and a never ending source of amusement, Simon's Cat is a popular animated cartoon series by the British animator Simon Tofield featuring a hungry house cat who uses increasingly heavy-handed tactics to get its owner to feed it. Hand-drawn using an A4-size Wacom Intuos 3 pen and tablet, Simon has revealed that his four cats - called Teddy, Hugh, Jess and Maisie - provide inspiration for the series, with Hugh being the primary inspiration. And there's now a new short titled "Suitcase". To view the complete collection to date, visit Simon's Cat at YouTube.
Eileen Brennan dies; Russia's film industry and The Associated Press in decline; defending Scott Simon's running tweet of his mother's passing; over-used poster clichés.
Michał Oleszczyk catches up with two takes on troubled youth: François Ozon's "Young & Beautiful" and Sofia Coppola's "The Bling Ring."
Marie writes: Intrepid club member Sandy Kahn has found another Hollywood auction and it's packed with stuff! From early publicity stills (some nudes) to famous movie props, costumes, signed scripts, storyboards, posters and memorabilia...
This will be the year that revenue from streaming passes revenue from DVD sales, according to a recent article in the Hollywood Reporter.
How do we feel about this? I ask as a movie-watcher who subscribes to Netflix, Hulu and Fandor, and also rents online from Amazon and Vudu. iTunes gets none of my business because the iTunes Store has been misbehaving on my computer. I average three streaming movies a week and three or four on DVD. I'm not an average consumer, because a lot of my viewing is for work. But often of an evening I'll stream for pleasure. All of my streaming happens through a Roku Player on HDTV.
Marie writes: many simply know her as the girl with the black helmet. Mary Louise Brooks (1906 - 1985), aka Louise Brooks, an American dancer, model, showgirl and silent film actress famous for her bobbed haircut and sex appeal. To cinefiles, she's best remembered for her three starring roles in Pandora's Box (1929) and Diary of a Lost Girl (1929) directed by G. W. Pabst, and Prix de Beauté (1930) by Augusto Genina. She starred in 17 silent films (many lost) and later authored a memoir, Lulu in Hollywood."She regards us from the screen as if the screen were not there; she casts away the artifice of film and invites us to play with her." - Roger, from his review of the silent classic Pandor's Box.
"Melancholia" is now available On Demand; in theaters November 7.
Of the Four Bodily Humours -- sanguine (blood), choleric (yellow bile), melancholic (black bile) and phlegmatic (phlegm) -- Lars von Trier has probably been most closely associated with the choleric, as expressed in angry, violent, inflammatory, irritating and caustic films such as "Breaking the Waves," "The Idiots," "Dancer in the Dark," "Dogville," "Manderlay," "Antichrist"... The latter felt to me like a glossy fashion magazine's idea of a horror movie ("Evil Vogue" -- all it was missing were the scratch-n-sniff Odorama perfume ads), but von Trier¹ claimed it grew from deep inside a cocoon of depression.
"Melancholia" strikes me as a more focused and harrowing portrait of clinical depression, a glowing, black-bile-on-velvet portrait of despair so bleak that it destroys the entire planet. Two planets, in fact: one is Earth and the other (quite similar looking but much, much larger) called Melancholia, a kind of massive-planet-sized anti-matter particle which we see collide with and engulf the Earth (from deep in space) in the opening montage... and again, from a terrestrial perspective, at the end.
If Terence Malick's "Tree of Life" is, as I described it earlier in the year, "a movie about (and by) a guy who wants to create the universe around his own existence in an attempt to locate and/or stake out his place within it," then "Melancholia," by my reckoning, is a movie about (and by) a person whose depression is so inescapably great and soul-destroying that it envelops and annihilates the world. Because it has to. There's nowhere else for it to go. Also, it's important for the depressed character/filmmaker to firmly assert that the only life in the universe is on Earth, and that all of it is annihilated. Hope of any kind is not an option. Besides, anything less that than the obliteration of absolutely everything would spoil the perfection of the happy ending for von Trier and Justine (Kirsten Dunst), his Bride of Oblivion.
Lech Majewski's "The Mill and the Cross" takes place inside Flemish painter Pieter Bruegel's 1564 The Way to Calvary -- as the artist observes, imagines, designs, sketches and paints it. I like to think of it as "Bruegel's 8 1/2," and I have rarely seen more absorbing and imaginative uses of blue-screen and CGI in movies.
Not that it's that simple. An article in American Cinematographer describes the film as "a three-year project that took [the filmmakers] to the Jura Mountains of Poland, the Czech Republic and New Zealand for 48 days of filming, followed by 28 months of postproduction at Odeon Film Studio in Warsaw. Production and post immersed them in digital technologies that included the first Red One to arrive in Poland, 2-D compositing in Flame and After Effects, 3-D compositing in Nuke and Fusion, and 3-D graphics in LightWave." Yeah.
Breugel (Rutger Hauer, acting in a world as fantastical and visually striking as that of "Blade Runner") wanders through the landscape of his painting, occasionally explaining his plans and methods to a patron played by Michael York. Charlotte Rampling is also featured as a model for the mother of Christ. But mostly they, and we, just watch. Breugel examines a dew-bejeweled spiderweb and is inspired to structure his painting along the same lines, with the principal event (Jesus stumbling while carrying the cross to Golgotha -- transposed to Flanders) in the center, yet surrounded by so much other activity (hundreds of other figures going about their business) that it is nearly lost, like the titular event in the artist's "The Fall of Icarus." At the upper left is the Tree of Life and the Circle of Life (the town); on the right, the Tree of Death (breaking wheel raised on a tree trunk) and the black Circle of Death (Golgotha).