A soggy, slushy mess.
* 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.
The latest and greatest on Blu-ray and DVD, including The Neon Demon, The Wailing, Central Intelligence, and more.
A preview of the 2016 version of the Chicago film lovers' event, including more than two dozen Chicago premieres.
Woody Allen on "Cafe Society"; Andrew McCarthy on directing TV; Movies about women impossible to finance; Terry Eagleton on Christianity and communism; Anna Karina on Godard.
A piece on how Deadpool could bring back the R-rated blockbuster and when it really mattered.
The latest and greatest on Blu-ray and DVD, including "Bridge of Spies," "Chi-Raq," "Suffragette," "Truth" and more.
Reviews from Sundance 2016 of US Dramatic Main Competition titles "Tallulah," "The Intervention" and "Joshy."
A look at some of the narrative, documentary, and midnight titles set to premiere at Sundance 2016.
An interview with director Reed Morano about her film "Meadowland."
An interview with Michael Shannon on Freeheld, 99 Homes, Boardwalk Empire, and more.
Martin Stirling's "Most Shocking Second a Day Video"; Queer films about straight people; Misunderstood "GoodFellas"; Chatting with Steve Kloves; Sex in David Lynch films.
A TIFF 2015 review of two films starring Ellen Page, Into the Forest and Freeheld.
A preview of the 33rd Reeling: Chicago LGBTQ+ International Film Festival.
A preview of the 40th Toronto International Film Festival
An overview of the films that will be theatrically released in the 2015 fall season.
A report on the Hollywood Foreign Press Association's August 13th, 2015 Grants Gala.
A report on the Hollywood Foreign Press Association's upcoming grants banquet on August 13th.
R.I.P. David Carr; Kanye West: the biggest loser; Popcorn porn: "Fifty Shades" and "Kingsman"; Tilda Swinton's speech at Rothko Chapel; The film that Goebbels feared.
A collection of quotes from filmmakers and critics honoring Roger's memory.
A career view on Bill Murray; Personally connecting to Her; An editor from The New Yorker waxes poetic on aging, intimacy and death; Long takes on television; and a Hollywood desert land.
The comment on Godard's 'No Comment'; Polanski's victim offers some advice to Dylan Farrow; the comedy club theory of dictatorship; Shia's brand new bag.
For serious cinema fans, romantic comedy have become dirty words in the post-Meg Ryan era. That's what makes the films of Seattle-based indie writer-director Lynn Shelton so refreshing: They're romantic and comedic without ever being formulaic.
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...
Marie writes: Intrepid club member Sandy Khan has sent us the following awesome find, courtesy of a pal in Belgium who'd first shared it with her. "Got Muck?" was filmed by diver Khaled Sultani (Emirates Diving Association's (EDA) in the Lembeh Strait, off the island coast of Sulawesi in Indonesia. Camera: Sony Cx550 using Light & Motion housing and sola lights. Song: "man with the movie camera" by cinematic orchestra.
This is a free sample of the Newsletter members receive each week. It contains content gathered from recent past issues and reflects the growing diversity of what's inside the club. To join and become a member, visit Roger's Invitation From the Ebert Club.
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.
Marie writes: Behold the entryway to the Institut Océanographique in Paris; and what might just be the most awesome sculpture to adorn an archway in the history of sculptures and archways. Photo @ pinterest
(click to enlarge.)