A frustratingly not-terrible action thriller.
* 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.
Premieres, Midnights, Special Events and more have been announced for next month's Sundance Film Festival.
A CIFF 2016 dispatch on Fisher Stevens and Alexis Bloom's "Bright Lights," Julia Ducournau’s "Raw," and Ken Loach's "I, Daniel Blake."
A review of Mike Mills' latest from the New York Film Festival.
The latest and greatest on Blu-ray and DVD, including The Neon Demon, The Wailing, Central Intelligence, and more.
An extensive preview of 50 films coming out within the next four months, from "Sully" to "Toni Erdmann."
An interview with writer/director Nicolas Winding Refn and star Elle Fanning about "The Neon Demon."
A new breed of female lead; A tale of two Fishers; Penn's hate-watch for the ages; "Paterson" is perfection; "The Salesman" marks Iran's post nuclear deal cinematic resurgence.
Reviews from Cannes of Cristian Mungiu's "Graduation" and Nicolas Winding Refn's "The Neon Demon."
A preview of Cannes 2016.
Roger's Favorites: Sally Potter, writer/director of "Yes."
Why Tarantino shouldn't apologize; Gender-flipped "Ocean's Eleven"; "Mulholland Dr." is a movie and a TV show; Trumbo sisters are proud of their father; Why old women are the face of evil.
A recap of the 2015 Toronto International Film Festival by the contributors who were there.
A review of "The Danish Girl" and "About Ray" from TIFF.
A review of Fox Searchlight's "Brooklyn" and "Youth."
A preview of the 40th Toronto International Film Festival
An overview of the films that will be theatrically released in the 2015 fall season.
An interview with the legendary star of the new I'll See You in My Dreams.
In interview with Anthony Stacchi and Graham Annable, directors of LAIKA's "The Boxtrolls".
Ebertfest receives a 2014 grant from the Hollywood Foreign Press.
A set visit to LAIKA's "The Box Trolls."
The makers of three films from the 2014 Sundance Film Festival muse on the challenges of adaptation.
Director Alex Ross Perry ("Impolex", "The Color Wheel") discusses cinephilia, cynicism, artistic betrayal and the death of film.
Marie writes: I've been watching a lot of old movies lately, dissatisfied in general with the poverty of imagination currently on display at local cinemas. As anyone can blow something up with CGI - it takes no skill whatsoever and imo, is the default mode of every hack working in Hollywood these days. Whereas making a funny political satire in the United States about a Russian submarine running aground on a sandbank near a small island town off the coast of New England in 1966 during the height of the Cold War - and having local townsfolk help them escape in the end via a convoy of small boats, thereby protecting them from US Navy planes until they're safely out to sea? Now that's creative and in a wonderfully subversive way....
I have watched with a kind of petrified fascination in recent years as the world creeps closer to what looks to me like disastrous climate change. The poles are melting. Ocean levels are rising. The face of the planet is torn by unprecedented natural disasters. States of emergency have become so routine that governors always seem to be proclaiming one. Do they have drafts of proclamations on file?
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Marie writes: Not too long ago, Monaco's Oceanographic Museum held an exhibition combining contemporary art and science, in the shape of a huge installation by renowned Franco-Chinese artist Huang Yong Ping, in addition to a selection of films, interviews and a ballet of Aurelia jellyfish.The sculpture was inspired by the sea, and reflects upon maritime catastrophes caused by Man. Huang Yong Ping chose the name "Wu Zei"because it represents far more than just a giant octopus. By naming his installation "Wu Zei," Huang added ambiguity to the work. 'Wu Zei' is Chinese for cuttlefish, but the ideogram 'Wu' is also the color black - while 'Zei' conveys the idea of spoiling, corrupting or betraying. Huang Yong Ping was playing with the double meaning of marine ink and black tide, and also on corruption and renewal. By drawing attention to the dangers facing the Mediterranean, the exhibition aimed to amaze the public, while raising their awareness and encouraging them to take action to protect the sea.