American Fable is ambitious, maybe too much so sometimes, but there's an intense pleasure in the boldness of the film's style.
* 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.
Matt writes: With this year's Oscar telecast just around the corner, RogerEbert.com has compiled a round-up of award prognostications into one of its latest Thumbnails installments. Join in the debate with writers such as Indiewire's Anne Thompson, Gold Derby's Paul Sheehan, Variety's Tim Gray and our own Collin Souter as they offer their best guesses on who will take home the evening's top prizes. The article comes complete with a link to a printable ballot courtesy of the official Oscar site. In addition to this, our critic Susan Wloszczyna recently published an essay entitled, "Oscar's History of Pickiness."
Marie writes: Widely regarded as THE quintessential Art House movie, "Last Year at Marienbad" has long since perplexed those who've seen it; resulting in countless Criterion-esque essays speculating as to its meaning whilst knowledge of the film itself, often a measure of one's rank and standing amongst coffee house cinephiles. But the universe has since moved on from artsy farsty French New Wave. It now prefers something braver, bolder, more daring...
May 20, 2009-The premiere of Quentin Tarantino's "Inglourious Basterds" will likely dominate the international press for days. The screening itself was a bit less than a crazy event than I had been expecting. After experiencing the wild, all-out adoration of Tarantino fans at a special Cannes screening of "Kill Bill I and II" some years ago, in which the audience consisted largely of French locals, I was prepared for anything.
The guards opened the Grand Theatre Lumiere a half-hour early, and even though I arrive at 7:55 am for the 8:30 am screening, it was already half full. Mild excitement was in the air, some cheers and applause were heard as the lights went down, and another smattering of applause when Tarantino's name appeared on the screen.
I was waiting for some kind of massive reaction at the end, but there really was nothing out of the ordinary. I've never been overwhelmed by Tarantino's films, although the crazed eclecticism of his work is a lot of fun. "Inglourious Basterds" worked for me as a satisfying whole better than most of his other films. He pulls together everything in his arsenal: action, extreme violence, misogyny, film history, pop music and pop culture, and a plot based on a wild premise that rewrites history.
Tonight's premiere movie is Ang Lee's "Taking Woodstock," starring one of my favorite comedians Demetri Martin. Although I don't have a formal invitation to the red carpet premiere, I've decided to try my luck getting into the screening on different terms. Many companies give away extra tickets to the young people who stand outside the Palais with signs requesting them. Although it's not imperative that I see the movie at it's premiere, I think the experience will be fun whether or not I actually get a ticket.
Technically, I can see the movie tomorrow afternoon in a smaller theatre without this hassle. I just won't get to walk the red carpet, see Emile Hirsch (and Ang Lee), take pictures, dress up--and basically it won't be as good. Fingers crossed!
I GOT IN!
I arrived outside of the Palais all dressed up at 9 pm for the 10 o' clock showing of "Taking Woodstock." I made a sign using a sheet of paper from a legal pad and an ink pen, saying "Invitation to Taking Woodstock, SVP! ☺."