At one point, I checked the time code on Netflix and saw that the movie had over forty minutes to go. I visibly winced.
* 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.
Roger Ebert reports from the AmFAR charity auction at Cannes.
Roger Ebert reviews David Lynch's "Wild at Heart" at the Cannes Film Festival.
A bunch of 2016 Oscar nominees and must-own Criterion releases just hit Blu-ray. Pick your favorite!
A guide to the latest on Blu-ray, including "The Texas Chainsaw Massacre 2" and "Only Angels Have Wings" (the first time those two movies have ever been in a sentence together).
An appreciation of Jonathan Demme's "The Silence of the Lambs" on its 25th anniversary.
Sheila writes: The great Japanese animator Hayao Miyazaki has enthralled audiences for 40 years with his beautiful and sensitive films, filled with supernatural elements, dream-like images, and a vibrant sense of the small moments that make up human existence. Video-essayist Lewis Bond (you can view more of his work here) created a short documentary about Miyazaki called "Hayao Miyazaki: The Essence of Humanity." Here it is, in full. Enjoy!
A piece on Wim Wenders' "The American Friend," released on Blu-ray by Criterion tomorrow.
Members of the RogerEbert.com film community remember the late Haskell Wexler.
An interview with Sir Ben Kingsley, star of "Learning to Drive".
Roger Ebert's essay on film in the 1978 edition of the Britannica publication, "The Great Ideas Today."
Owen Wilson and Wes Anderson remember L.M. "Kit" Carson, who helped them get their start in the movie business.
An appreciation of filmmaker, writer and actor L.M. "Kit" Carson, a singular talent.
Author Peter Biskind revisits four auteurs from the '70s--Steven Spielberg, Martin Scorsese, Roman Polanski, and Terrence Malick.
An excerpt from the July 2014 edition of "Bright Wall/Dark Room" on the impact of "Blue Velvet."
Even the Pope loved Eli Wallach; North Korea threatens war over Seth Rogen movie; Remembering Peter de Rome; Dennis Hopper's lost photography; Richard Linklater on "Boyhood"
True story, kind of.
Some useful advice to young critics.
Sheila writes: Todd Sanders is a self-taught neon sign artist. Roadhouse Relics, the gallery of his work in Austin, Texas, is filled with his beautiful vintage-inspired signs. His designs are all hand-drawn. He collects old magazines from the 1920s, 1930s, etc., to get inspiration for his neon signs. He does custom signs as well. You can check out Sanders' work, bio, and press kit at Roadhouse Relics. Neon brings up all kinds of automatic images and associations: seedy hotels, burlesque joints, cocktail bars. His signs evoke those images, but much more. For instance, look at his beautiful "Fireflies In a Mason Jar".
An interview with Nicolas Winding Refn, director of "Valhalla Rising," "Drive" and "Only God Forgives," among other films. Simon Abrams talks to the filmmaker about midnight movies, meeting Alejandro Jodorowsky, and the possibility that he might day make a Wonder Woman movie.
The New York Times' David Carr admits that Glenn Greenwald is a journalist; Criterion Collection appreciates Alex Cox's Repo Man; poets go to the movies; James Franco's never-ending navel-gaze; David Edelstein dismantles The Way, Way Back; Kerry Washington on the cover of Vanity Fair; Dennis Hopper documentary.
Marie writes: There was a time when Animation was done by slaves with a brush in one hand and a beer in the other. Gary Larson's "Tales From the Far Side" (1994) was such a project. I should know; I worked on it. Produced by Marv Newland at his Vancouver studio "International Rocketship", it first aired as a CBS Halloween special (Larson threw a party for the crew at the Pan Pacific Hotel where we watched the film on a big screen) and was later entered into the 1995 Annecy International Animated Film Festival, where it won the Grand Prix. It spawned a sequel "Tales From the Far Side II" (1997) - I worked on that too. Here it is, below.
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...
Oh my. Here we go again with all the deathiness. Movie criticism keeps dying deader and deader. Film itself has keeled over and given up the ghost. Cinema ist kaput, and at the end of last month "movie culture" was pronounced almost as deceased as John Cleese's parrot. Ex-parrot, I mean. Then the movie "Looper" came out, posing questions like: "What if you could go back in time? Would you kill cinema?" Or something like that.
People, this dying has gotta stop.
I think my very favorite thing in Rian Johnson's "Looper" is a squiggly cloud. It hangs there in the sky above a cornfield and you can't help but notice it. Which is good, because this is a time-travel movie and the cloud comes in handy later when something happens again in this same spot and the cloud tells you what time it is. Thanks to that cloud, you know this is a re-run.
In one version of the present-future-past, Joe (Joseph Gordon-Levitt) shoots his future self (Bruce Willis) and in another he doesn't. I couldn't remember why that happened at first just now, but then it came back to me. Johnson brought in Shane Carruth, writer-director of the meticulously planned and way more convoluted time-travel thriller "Primer" (2004) to do some special effects work, which indicates to me that RJ is fairly serious about his science-fiction. (He also wrote and directed "Brick" and "The Brothers Bloom," both of which contain some nifty, well-plotted twists.)
(Update: Here's a "Looper" timeline/infographic.)
"Corman's World: Exploits of a Hollywood Rebel" is available March 27 on online outlets via iTunes, Vudu, CinemaNow and Amazon. Also on DVD and Blu-ray.
For B-movie buffs, exploitation film aficionados, and midnight movie cultists, the grand finale of "Corman's World: Exploits of a Hollywood Rebel," will be every bit as exhilarating as that montage of forbidden kisses at the end of "Cinema Paradiso." Taking its cue from the liberating, rebellious high point of the Roger Corman-produced "Rock and Roll High School," in which P. J. Soles and the Ramones rock the hallways of Vince Lombardi High, it offers up dizzying bursts of quintessential Corman: cheesy monsters, fiery car explosions, Vincent Price, blaxploitation kickass, marauding piranhas and Mary Woronov with a gun.
Alex Stapleton's "Corman's World" celebrates the singular cinematic legacy of the "King of the Bs," who has improbably and regretfully fallen into obscurity. Observes director Penelope Spheeris ("The Boys Next Door," "The Decline of Western Civilization Part II: The Metal Years," "Wayne's World"): "If you ask a 20-25-year-old film buff, they won't know who he is."
This despite a career that spans almost 60 years and more than 400 films that Corman either directed or produced. But while his own name may be unfamiliar, many of the once-fledgling actors and filmmakers whom he nurtured/exploited are not: Martin Scorsese ("Boxcar Bertha"), Ron Howard ("Grand Theft Auto"), Peter Bogdanovich ("Targets"), Jonathan Demme ("Caged Heat"), Joe Dante ("Piranha"), Robert DeNiro ("Bloody Mama"), Pam Grier ("The Big Doll House"), screenwriter John Sayles ("The Lady in Red") -- all these and many more appear in "Corman's World" in new and archival interviews.