Sometimes, it feels as if we are eavesdropping on day-to-day conversations rather than just hearing the usual litany of platitudes and regrets.
* 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.
When: Through Oct. 25Where: Screenings at AMC River East 21, 322 E. Illinois St. (unless noted).
● "Ironclad" (2011) ● "Black Death" (2010)
"Ironclad " is now available on DirecTV and other on-demand providers (check your service listings) and from Netflix (DVD and Blu-ray) starting on July 26th. "Black Death" is available on Netflix (streaming, DVD and Blu-ray) and Amazon Instant Video.
When I was a kid growing up in the Seattle suburb of Edmonds, WA (aka "The Gem of Puget Sound"), my parents did everything that good, sensible parents should do to shield their kids from violence, both real and reel. I remember being innocently intrigued by the furor over "Bonnie & Clyde" in 1967, but they would never have taken me to see it with them (to their credit, since I was only six). The same held true for "The Wild Bunch" in 1969, by which time the debate over movie violence had reached a fever pitch in our national conversation. Over the ensuing decades, that conversation has become a moot point as movie violence proceeded apace, from Sonny Corleone's death in a hail of Tommy-gun fire in "The Godfather" (1972), to the slasher cycle of the late '70s and '80s (when makeup artists Tom Savini and Rick Baker reigned supreme as a master of gory effects) and into the present, when virtually anything - from total evisceration to realistic decapitation -- is possible through the use of CGI and state-of-the-art makeup effects. That's where movies like "Ironclad" and "Black Death" come in, but more on those later.
If you're looking for a rant against milestone achievements in the depiction of graphic violence, you've come to the wrong place. To me, it's a natural progression. Movies and violence have always been inextricably linked, and once opened, that Pandora's Box could never be closed. A more relevant discussion now is how the new, seemingly unlimited gore FX should be used and justified. Horror films will always be the testing ground for the art of gore, and it would be a crime against cinema to cut the "chest-burster" from "Alien" (or, for that matter, Samuel L. Jackson's spectacular death in "Deep Blue Sea"). But it's the depiction of authentic, real-life violence -- in everything from the "CSI" TV franchise to prestige projects like HBO's "Band of Brothers" and "The Pacific" -- that pushes previously unrated levels of gore into the mainstream.
Don't get me wrong: I'm not praising this progression so much as acknowledging its inevitability. If you really love movies -- and especially if you've been lucky enough to make a career out of watching them -- you have undoubtedly seen a violent film that was unquestionably vile, unjustified and miles beyond the boundaries of all human decency. I've seen violent movies that earned my disgust because (1) the context of the violence was as abhorrent as the violence itself and (2) the intentions of the filmmakers were clearly indefensible. (Context and intention: More on that later.) Tolerances and sensibilities may vary, but every critic has seen a film that appeared to have been written and directed by sociopaths. Check out Roger Ebert's review of "I Spit on Your Grave" (the 1978 version) and you'll see what I mean.
Marie writes: They call it "The Shard" and it's currently rising over London akin to Superman's Fortress of Solitude and dwarfing everything around it, especially St. Paul's in front. I assume those are pigeons flying over-head and not buzzards. Ie: not impressed, but that's me and why I'm glad I saw London before they started to totally ruin it.Known as the "London Bridge Tower" before they changed the name, when completed in 2012, it will be the tallest building in Europe and 45th highest in the world. It's already the second highest free-standing structure in the UK after the Emley Moor transmitting station. The Shard will stand 1,017 ft high and have 72 floors, plus another 15 radiator floors in the roof. It's been designed with an irregular triangular shape from base to top and will be covered entirely in glass. The tower was designed by Renzo Piano, the Italian architect best know for creating Paris's Pompidou Centre of modern art with Richard Rogers, and more recently the New York Times Tower. You can read an article about it at the Guardian. Here's the official website for The Shard. Photograph: Dan Kitwood.
The Grand Poobah writes: "be there or be square...."(click to enlarge)
"The King's Speech," a story of Britain's King George VI, won the coveted Cadillac People's Choice Audience Award Sunday at the Toronto International Film Festival -- and an audience member won a new Cadillac. The film -- which stars Colin Firth as the King and Helena Bonham-Carter as Elizabeth, his wife and mother of Elizabeth II -- is considered a sure thing for Academy nominations.
TORONTO--Through the cloud of sadness which has enveloped the Toronto Film Festival since Tuesday, a few films have shone like beacons.
Ebert's Best Film Lists1967 - present
LOS ANGELES--Kenneth Branagh's "Hamlet" is one of those grand gestures that restores your faith in the flexibility and imagination of the movies. When so many films seem to march lockstep through versions of the same proven formulas, here's one that takes on perhaps the most enigmatic character in literature, and surrounds him with every single word of "Hamlet"--a play so often cut that many people have never seen it as Shakespeare wrote it.
Ebert's Best Film Lists1967 - present