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La La Land

This is a beautiful film about love and dreams, and how the two impact each other.

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Jackie

There are two movies in "Jackie." One of these movies is just OK. The other is exceptional. The first one keeps undermining the second.

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Ballad of Narayama

"The Ballad of Narayama" is a Japanese film of great beauty and elegant artifice, telling a story of startling cruelty. What a space it opens…

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Cast and Crew

* 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.

#210 March 12, 2014

Sheila writes: Alex Nunez at Road & Track put together a totally entertaining slideshow of actors and their cool cars. Clark Gable, Steve McQueen, Elizabeth Taylor, Ida Lupino, Jack Nicholson, Clint Eastwood, the list goes on and on. The cars are almost as cool as the folks driving them (and in some cases cooler).

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#182 August 28, 2013

Sheila writes: Thank you all for taking the time to answer our survey! We will keep you posted on any changes that may come about. So let's get to the newsletter, shall we? Jack Kerouac famously wrote the majority of "On the Road" on one long scroll of paper. Kerouac found that taking the time to remove the finished pages off of the typewriter and replacing them with a fresh sheet interrupted his flow. California artist Paul Rogers, who has done ten book covers for Random House UK of Hemingway classic, has created an online scroll of beautiful illustrations for Kerouac's novel. Evocative and gritty, they make a great companion piece for "On the Road". You can see more of Paul Rogers' cool work at his site.

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#121 June 27, 2012

Marie writes: It was my birthday June 25th. Unlike Roger however, I'm a Crab not a Gemini. So to celebrate and with my brother's help (he has a car), I took my inner sea crustacean to Barnet Marine Park on the other side of Burnaby Mountain... and where our adventure begins....

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Margaret Mitchell: Her own brand of rebel

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PBS's "American Masters" presents "Margaret Mitchell: American Rebel" and "Harper Lee: Hey, Boo," back-to-back documentaries about two white American women who won Pulitzer Prizes for their first and only best-selling novels, Monday, April 2 beginning at 9 p.m. (Check local listings.) Both will be available via PBS On Demand and are currently on DVD.

If you're hoping for the whirling of petticoats, a colorful Virginia reel and the coquettish fluttering of lashes on the old plantation, you might be surprised by American Master's "Margaret Mitchell: American Rebel." By rebel, director Pamela Roberts doesn't just mean Johnny Reb. On the other hand, if you hope that the author of Gone With the Wind is burning in hell for conjuring up a romantic fantasy of slavery and antebellum plantation life, you might be surprised. Mitchell was a wild young woman who did some shocking dances in her day, but eventually settled down and did good in ways that benefited the citizens of her hometown Atlanta and beyond.

What could be rebellious about a woman who romanticized a plantation lifestyle in which women were raised to be pretty ornaments and good wives in her 1936 novel of the Old South, "a civilization gone with the wind..."? Today, millions of women still live out their Scarlett O'Hara fantasies at their weddings with hoop-skirted bridal gowns, and through Civil War or Southern ball re-enactments. Not so many line up to portray slaves. The documentary uses many clips from the blockbuster 1939 movie, contrasted with photographs of Mitchell in her own wild youth. Even as one might enjoy the sweeping romance of the motion picture epic and attempt to ignore the racism, I suspect most people are more politically sympathetic with Alice Randall's 2001 parody The Wind Done Gone, which re-imagined Mitchell's story from the slaves' point of view.

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The Devil and Daniel Webster

May Contain Spoilers

Like many tales about the good vs. the evil, the evil mostly steals the show from the good in "The Devil and Daniel Webster" (1941), a cautionary moral tale based on Stephen Vincent Benét's short story which is sort of a New England version of the tale of Faust. Though it was made 70 years ago, the movie remains as a darkly enjoyable movie with the wonderful moments that can both amuse and chill us with the subtle creepiness pervading its rural background. Sure, we are happy to see the soul of an ordinary American luckily saved from the eternal damnation in the end, but, folks, can we deny that we had a fun with Mephistopheles before the obligatory finale?

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100 Great Moments in the Movies

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Roger Ebert / April 23, 1995

For the centennial of cinema, 100 great moments from the movies:

Clark Gable in "Gone With the Wind":

"Frankly, my dear, I don't give a damn."

Buster Keaton standing perfectly still while the wall of a house falls over upon him; he is saved by being exactly placed for an open window.

Charlie Chaplin being recognized by the little blind girl in "City Lights."

The computer Hal 9000 reading lips, in "2001: a Space Odyssey."

The singing of "La Marseillaise" in "Casablanca."

Snow White kissing Dopey Bashful on the head.

John Wayne putting the reins in his mouth in "True Grit" and galloping across the mountain meadow, weapons in both hands.

Jimmy Stewart in "Vertigo," approaching Kim Novak across the room, realizing she embodies all of his obsessions - better than he knows.

The early film experiment proving that horses do sometimes have all four hoofs off the ground.

Gene Kelly singin' in the rain.

Samuel L. Jackson and John Travolta discuss what they call Quarter Pounders in France, in "Pulp Fiction."

The Man in the Moon getting a cannon shell in his eye, in the Melies film "A Voyage to the Moon."

Pauline in peril, tied to the railroad tracks.

A boy running joyously to greet his returning father, in "Sounder."

Harold Lloyd hanging from a clock face in "Safety Last."

Orson Welles smiling enigmatically in the doorway in "The Third Man."

An angel looking down sadly over Berlin, in Wim Wenders' "Wings of Desire."

The Zapruder film of the Kennedy assassination: Over and over again, a moment frozen in time.

A homesick North African, sadly telling a hooker that what he really wants is not sex but couscous, in Rainer Werner Fassbinder's "Fear Eats the Soul: Ali."

Wile E. Coyote, suspended in air.

Zero Mostel throwing a cup of cold coffee at the hysterical Gene Wilder in Mel Brooks' "The Producers," and Wilder screaming: "I'm still hysterical! Plus, now I'm wet!"

An old man all alone in his home, faced with the death of his wife and the indifference of his children, in Yasujiro Ozu's "Tokyo Story."

"Smoking." Robert Mitchum's response, holding up his cigarette, when Kirk Douglas offers him a smoke in "Out of the Past."

Marcello Mastroianni and Anita Ekberg wading in the fountain in "La Dolce Vita."

The moment in Akira Kurosawa's "High and Low" when a millionaire discovers that it was not his son who was kidnapped, but his chauffeur's son - and then the eyes of the two fathers meet.

The distant sight of people appearing over the horizon at the end of "Schindler's List."

R2D2 and C3PO in "Star Wars."

E.T. and friend riding their bicycle across the face of the moon.

Marlon Brando's screaming "Stella!" in "A Streetcar Named Desire."

Hannibal Lecter smiling at Clarise in "The Silence of the Lambs."

"Wait a minute! Wait a minute! You ain't heard nothin' yet!" The first words heard in the first talkie, "The Jazz Singer," said by Al Jolson.

Jack Nicholson trying to order a chicken salad sandwich in "Five Easy Pieces."

"Nobody's perfect": Joe E. Brown's last line in "Some Like It Hot," explaining to Tony Curtis why he plans to marry Jack Lemmon even though he is a man.

"Rosebud."

The shooting party in Renoir's "Rules of the Game."

The haunted eyes of Antoine Doinel, Truffaut's autobiographical hero, in the freeze frame that ends "The 400 Blows."

Jean-Paul Belmondo flipping a cigarette into his mouth in Godard's "Breathless."

The casting of the great iron bell in Andrei Tarkovsky's "Andrei Rublev."

"What have you done to its eyes?" Dialogue by Mia Farrow in "Rosemary's Baby."

Moses parting the Red Sea in "The Ten Commandments."

An old man found dead in a child's swing, his mission completed, at the end of Kurosawa's "Ikiru."

The haunted eyes of the actress Maria Falconetti in Dreyer's "The Passion of Joan of Arc."

The children watching the train pass by in Ray's "Pather Panchali."

The baby carriage bouncing down the steps in Eisenstein's "Battleship Potemkin."

"Are you lookin' at me?" Robert De Niro in "Taxi Driver."

"My father made them an offer they couldn't refuse:" Al Pacino in "The Godfather."

The mysterious body in the photographs in Antonioni's "Blow-Up."

"One word, Benjamin: plastics." From "The Graduate."

A man dying in the desert in von Stroheim's "Greed."

Eva Marie Saint clinging to Cary Grant's hand on Mt. Rushmore in "North by Northwest."

Astaire and Rogers dancing.

"There ain't no sanity clause!" Chico to Groucho in "A Night at the Opera."

"They call me Mr. Tibbs." Sidney Poitier in Norman Jewison's "In the Heat of the Night."

The sadness of the separated lovers in Jean Vigo's "L'Atalante."

The vast expanse of desert, and then tiny figures appearing, in "Lawrence of Arabia."

Jack Nicholson on the back of the motorcycle, wearing a football helmet, in "Easy Rider."

The geometrical choreography of the Busby Berkeley girls.

The peacock spreading its tail feathers in the snow, in Fellini's "Amarcord."

Robert Mitchum in "Night of the Hunter," with "LOVE" tattooed on the knuckles of one hand, and "HATE" on the other.

Joan Baez singing "Joe Hill" in "Woodstock."

Robert De Niro's transformation from sleek boxer to paunchy nightclub owner in "Raging Bull."

Bette Davis: "Fasten your seat belts; it's gonna be a bumpy night!" in "All About Eve."

"That spider is as big as a Buick!" Woody Allen in "Annie Hall."

The chariot race in "Ben-Hur."

Barbara Harris singing "It Don't Worry Me" to calm a panicked crowd in Robert Altman's "Nashville."

The game of Russian roulette in "The Deer Hunter."

Chase scenes: "The French Connection," "Bullitt," "Raiders of the Lost Ark," "Diva."

The shadow of the bottle hidden in the light fixture, in "The Lost Weekend."

"I coulda been a contender." Brando in "On the Waterfront."

George C. Scott's speech about the enemy in "Patton:" "We're going to go through him like crap through a goose."

Rocky Balboa running up the steps and pumping his hand into the air, with all of Philadelphia at his feet.

Debra Winger saying goodbye to her children in "Terms of Endearment."

The montage of the kissing scenes in "Cinema Paradiso."

The dinner guests who find they somehow cannot leave, in Bunuel's "The Exterminating Angel."

A knight plays chess with Death, in Bergman's "The Seventh Seal."

The savage zeal of the Klansmen in Griffith's "The Birth of a Nation."

The problem of the door that won't stay closed, in Jacques Tati's "Mr. Hulot's Holiday."

"I'm still big! It's the pictures that got small!" Gloria Swanson in "Sunset Boulevard."

"We're a long way from Kansas!" Judy Garland in "The Wizard of Oz."

An overhead shot beginning with an entrance hall, and ending with a closeup of a key in Ingrid Bergman's hand, in Hitchcock's "Notorious."

"There ain't much meat on her, but what's there is choice." Spencer Tracy about Katharine Hepburn in "Pat and Mike."

The day's outing of the mental patients in "One Flew Over the Cuckoo's Nest."

"I always look well when I'm near death." Greta Garbo to Robert Taylor in "Camille."

"It took more than one night to change my name to Shanghai Lily." Marlene Dietrich in "Shanghai Express."

"I'm walkin' here!" Dustin Hoffman in "Midnight Cowboy."

W.C. Fields flinching as a prop man hurls handfuls of fake snow into his face in "The Fatal Glass of Beer."

"The next time you got nothin' to do, and lots of time to do it, come up and see me." Mae West in "My Little Chickadee."

"Top o' the world, Ma!" James Cagney in "White Heat."

Richard Burton exploding when Elizabeth Taylor reveals their "secret" in "Who's Afraid of Virginia Woolf?"

Henry Fonda getting his hair cut in "My Darling Clementine."

"Badges? We ain't got no badges. We don't need no badges. I don't have to show you any stinkin' badges!" Alfonso Bedoya to Humphrey Bogart in "The Treasure of the Sierra Madre."

"There's your dog. Your dog's dead. But there had to be something that made it move. Doesn't there?" Line from Errol Morris' "Gates of Heaven."

"Don't touch the suit!" Burt Lancaster in "Atlantic City."

Gena Rowlands arrives at John Cassavetes' house with a taxicab full of adopted animals, in "Love Streams."

"I want to live again. I want to live again. I want to live again. Please God, let me live again." Jimmy Stewart to the angel in "It's a Wonderful Life."

Burt Lancaster and Deborah Kerr embrace on the beach in "From Here to Eternity."

Mookie throws the trash can through the window of Sal's Pizzeria, in "Do the Right Thing."

"I love the smell of napalm in the morning," dialogue by Robert Duvall, in "Apocalypse Now."

"Nature, Mr. Allnut, is what we are put in this world to rise above." Katharine Hepburn to Humphrey Bogart in "The African Queen."

"Mother of mercy. Is this the end of Rico?" Edward G. Robinson in "Little Caesar."

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#26 September 1, 2010

From the Grand Poobah: Here in Michigan Oink's ice cream parlor exerts a magnetic pull on helpless citizens for miles around. I can no longer sample their countless flavors, but not log ago I took Kim Severson there. She is a New York Times writer doing a piece on The Pot. Oink's is run by my friend Roger Vink, who says, "May the Oink be with you."

(click photos to enlarge)

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The Eleven Worst Ambiguous Movie Endings

Everybody hates it when they don't explain everything that happened by the time the movie is over. What we need at the end is not open-endedness but clarity, loose-end tying-up, closure. We need more movies like "Psycho" (unfortunately Simon Oakland has passed, but Larry King is still with us) and "Mulholland Dr." -- movies that take a little time to explain exactly what happened so we're not left feeling stupid all the way home. You know what they say: The difference between a comedy and a tragedy is where you end the story. Well, the same goes for the ending: The difference between a good ending and a bad ending is how good the ending is. Here are eleven of the most outrageously unsatisfactory ambiguous endings in movie history:

"Gone With the Wind" (1939) Scarlett O'Hara says, "I'll go home. And I'll think of some way to get him back. After all... tomorrow is another day." That's not the ending of a movie -- that's the beginning of act three! Put up or shut up, Scarlett. Clark Gable has just said the word "Damn" at you and that's it? If tomorrow is such another day, then bring it on!

"Casablanca" (1942) What do you mean Ingrid Bergman goes off with Paul Henreid and all Bogart's left with is the barest hint of a homosexual future with Claude Rains? At the end he puts her on a damn plane (something about how she doesn't amount to a hill of beans) and he and Rains walk off into the fog together as Bogart says, "Louis, I think this is the beginning of a beautiful friendship." Whoa! What the hell happened then? What if "Brokeback Mountain" ended right after Heath Ledger threw up? What kind of ending would that be? And how does Peter Lorre figure into it?

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Best and Worst Oscar Actors

View image Ernest Borgnine ("Marty"), Oscar-winner for Best Actor, 1955.

Edward Copeland announces the results of his third annual Oscar survey, this year devoted to the best and worst choices for Best Actor, 1927 - 2006. Survey participants chose Marlon Brando, Jack Nicholson, Robert De Niro, Anthony Hopkins, Tom Hanks and Jeremy Irons among the best best actors, but guess for which films? Worst best actors included Dustin Hoffman, Russell Crowe, Jack Nicholson, Tom Hanks and Denzel Washington.

My own choices are below, after the jump...

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