xXx: Return of Xander Cage
The last forty minutes of the movie do come together in a pretty diverting way.
* 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.
FFC Seongyong Cho explores Frederick Wiseman's 2014 documentary, "National Gallery."
An interview with director Robert Greene about "Kate Plays Christine," nonfiction storytelling, a documentarian's honesty and much more.
Contributors to RogerEbert.com each list their favorite films of 2015.
An interview with director Oren Moverman of "Time Out of Mind".
Eight things the writer wants you to know about Albert Maysles, the pioneering documentary filmmaker who died last week at age 88.
A 2002 Star-Ledger profile of Albert Maysles, by MZS.
A recap of the culture and best of the 2014 New Orleans Film Festival.
My stepfather, the peeping tom; The Overnighters is a rare bird; Nightcrawler and capitalism; Grace McPhillips on The Other One; Restoring Ramona.
A preview of the 2014 Chicago International Film Festival.
Frederick Wiseman reflects on art—including his own films—in "National Gallery."
A Steak 'n Shake opens 50 paces from the hotel where Roger Ebert used to stay during the film festival.
FFC Seongyong Cho reviews the 4-hour Frederick Wiseman documentary, At Berkeley.
A blind critic shows us the light; The Wire and Juice; Death in television; Mac DeMarco and Salad Days; Teenage sexual promiscuity.
Matt Zoller Seitz's Top 10 films of 2013.
"Tower Prep" was cancelled because it was too girl-centric; the year's 10 best movie quotes; the year's worst movie titles; the real sins of the Welfare Queen; the aptly named Wiseman speaks.
New York Film Critics Circle deems "American Hustle" best picture; the Oscar documentary shortlist; the earning potential fo the regional film festival circuit; Ted Hope's 30 really bad things in the indie film biz; Buffalo's remaining movie theater may go dark.
David Bordwell examines the crucial distinguishing characteristics of cinephiles and cinemaniacs, and catalogs the shared habits and competitive strategies of the former, in "Games cinephiles play."
Which are you? (Not that you have to be one or the other.) DB will help you resolve any cine-related identity crisis from which you may be suffering.
He writes: ... I do see differences. For one thing, most cinemaniacs like only certain sorts of movies--usually American, often silent, sometimes foreign, seldom documentaries. Do cinemaniacs line up for Brakhage or Frederick Wiseman? My sense is not.
Cinephiles by contrast tend to be ecumenical. Indeed, many take pride in the intergalactic breadth of their tastes. Look at any smart critic's ten-best lists. You'll usually see an eclectic mix of arthouse, pop, and experimental, including one or two titles you have never heard of. Obscurity is important; a cinephile is a connoisseur.
After Cannes, the Toronto Film Festival is the most important in the world. Last year's festival was ripped in two on Sept. 11. I walked out of a screening, heard the news, and the world had changed. Now comes the 27th annual festival, opening today. Are movies important in the new world we occupy? Yes, I think they are, because they are the most powerful artistic device for creating empathy--for helping us understand the lives of others.
Q. Do you think MTV's "The Real World" could be anything but acting--what with a camera, sound, and light crew following the "cast" around day and night? (John Krajewski, University of Washington)
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