Sin City: A Dame to Kill For
"Sin City: A Dame to Kill For" doesn't have the electricity of the original, mainly because we've already seen it. Nothing more is really revealed…
* 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.
Three new network dramas premiere in the next two weeks and two of them are actually worth a look.
It is a jungle out there in Hollywood, and "Get Shorty" presents the various kinds of animals residing at the lower strata of that jungle through a pungent but cheerful satire about one nutty pre-production process.
Marie writes: Allow me to introduce you to Bill and Cheryl. I went to Art school with Bill and met his significant other Cheryl while attending the graduation party; we've been pals ever since. None of which is even remotely interesting until you see where they live and their remarkable and eclectic collection of finds. (click to enlarge images.)
From its incendiary opening to its somber but exultant conclusion, Spike Lee's grand and important film "Malcolm X" captures the life of a complex, charismatic and gravely misunderstood man who fought for human rights and justice for Africans and African-Americans. The film, based on The Autobiography of Malcolm X as told to Alex Haley, is arguably Mr. Lee's best and most universal film, and one of the great American film biographies.
For context, "Malcolm X" had extraordinary publicity leading up to its 1991 production. Numerous black activists in New York City and elsewhere had forecasted that Mr. Lee's film would not accurately depict the essence of Malcolm. "Don't mess Malcolm up," was a refrain the director heard over and over again.
Read Roger Ebert's 1968 interview with Ossie Davis.
Q. As I was watching the credits at the end of "Panic Room," I noticed that three people were listed as "puppeteers." I can't for the life of me imagine a single scene in which puppeteers could possibly have been used in this movie. (Phil Brown, San Francisco)
The saddest thing, Spike Lee thinks, is that in some neighborhoods the children no longer know how to play street games. The streets are so unsafe the kids hide inside, and decades of childhood culture have disappeared in a generation.