Southbound is a prime example of a horror omnibus film: even the weaker segments have something to recommend them.
* 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.
A guide to the latest on Blu-ray and DVD, including "The Tale of the Princess Kaguya," "St. Vincent," and four fantastic Criterion releases.
A special edition of the Home Entertainment Consumer Guide on Blu-ray releases for 9/23/14, including "Ida," "The Innocents," "Macbeth," "Neighbors," "The Rover" and more.
Recent titles released on Blu-ray.
Tom Shales looks at "Carson on TCM," a weekly series of shows culling great Carson interviews.
"Norman Mailer: The American" is available on Amazon Instant video. It is also available on DVD. Criterion has announced a two-disc Eclipse Series DVD set of Norman Mailer-directed features for release August 28, 2012: "Maidstone" (1970), "Wild 90" (1967) and "Beyond the Law" (1968).
Watching "Norman Mailer: The American," I was struck by the similarities between Mailer and Charles Foster Kane. And it's not just that director Joseph Mantegna (not the actor) at one point employs the title card for "Citizen Kane's" faux newsreel "News on the March" to setup some archival footage. Or the fact that "American" was originally the proposed title for Orson Welles' masterpiece.
Both films grapple with taking the full measure of a man who had significant influences on his times (Kane is fictional, but he was legendarily based in part on newspaper publisher William Randolph Hearst). As Mailer's life unfolds in all its glory, controversy and infamy, dialogue from "Kane" ran like a crawl through my brain. "Few private lives were more public... and he himself was always news." And: "Here's a man who was as loved and hated and talked about as any man in our time." But finally: "It's not enough to tell us what the man did, you've got to tell us who he was."
"Woody Allen: A Documentary" airs on PBS stations in two parts, at 9 p. m. Sunday and Monday, Nov. 20 and 21. Check local listings for airtimes. Also available via PBS On Demand.
by Odie Henderson
I took this gig as a challenge. It's not that I hate Woody Allen; I just don't adore him as much as you would like. Plus, I live in the Bizarro World when it comes to his films, enjoying the ones most people hate and vice-versa. For example, I hated "Match Point," disliked "Annie Hall," and could never commit to "Manhattan" despite its astonishing, heartbreaking cinematography. Conversely, I loved "Deconstructing Harry," found "A Midsummer Night's Sex Comedy" amusing, and I may be the only sane person who liked "Hollywood Ending." These confessions may disturb die-hard fans, but before you vow never to read anything of mine again, you should watch American Masters' "Woody Allen: A Documentary." There you'll discover that Woody Allen dislikes most of his movies, even going so far as to offer to make a different movie for free if United Artists used "Manhattan" for kindling. Compared to that, my "meh" reaction to the gorgeous-looking film is a ringing endorsement. We now know who should be getting your hate mail, don't we?
Not that Allen would care. Robert B. Weide's exceptional documentary makes clear that critical opinion is the farthest thing from its subject's mind. The prolific writer-director has been too busy cranking out a film a year for the past four decades to worry about what anyone thinks of them. You'd have to go back to the studio system's heyday for that kind of output, work that produced eleven solo and three collaborative Oscar nominations for writing. That's two more than my beloved Billy Wilder, who coincidentally never got a solo writing nomination. Add to those fourteen writing nods his six directing nominations, sole acting nod and the resulting three wins, and you have one of the most honored filmmakers in Hollywood history. He can expect a 22nd nomination for "Midnight In Paris," which I cop to liking but not with the slobbering praise afforded it by most critics. (It's like a cross between Cliffs Notes, "The Purple Rose of Cairo" and a Tea Party rally, with all that "it's so much better in the past" nonsense.) The fact that awards mortify Allen makes these numerous acknowledgements the kind of ironic, funny joke one would find in, well, a Woody Allen movie.
From the Grand Poobah: The name of this video is "Tarantino vs. the Coen Brothers." It is a rather brilliant editing accomplishment. The better you know the Tarantino and Coen films, the more you may like it. I predict it will go viral.
"Calcuttan Cats," a short story by club member H. W. Cimmerian, is newly online at "O'Rourke's magazine," the online lit mag that Ebert publishes from time to time.
Film director Robert Altman isn't a stockholder in Twentieth Century-Fox, but if he were, he'd ask this question at Fox's summer board meeting, which will be held here in Chicago Thursday: "When is Robert Altman's new movie 'Health' going to be released?" The studio apparently has no plans to release.
T. PETERSBURG BEACH, Fla. - The old hotel rises next to the sea like a birthday cake on an acid trip. It is pink and white and impossibly ornamented with towers and gables, and out in front there are these enormous 6-foot lemons and bananas and watermelons. The hotel is named the Don CeSar Beach Hotel, and no cost was spared when it was constructed just in time to go bankrupt in the Depression. It sat empty for years, It housed Navy officers during the war, it was restored to its former grandeur in 1970, and now Robert Altman is shooting his next movie here.