"The Congress" is a roll call of the orgiastic pleasures and bountiful comforts that art provides, and, a reminder of what waits for us when…
* 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.
An examination of Richard Linklater's "Boyhood," how it deals with time and influence, and its relation to Dante's "The Divine Comedy."
RogerEbert.com contributor Godfrey Cheshire's landmark two-part series "Death of Film/Decay of Cinema" anticipated many of the changes that would later shake the medium to its core.
Joe Swanberg on "Sex Tape"; The problem with "Star Wars"; Advice for writers of color; The necessary evil of Twitter; Jonah Ray hates Sublime's "What I Got."
Author Peter Biskind revisits four auteurs from the '70s--Steven Spielberg, Martin Scorsese, Roman Polanski, and Terrence Malick.
A history of movies not directly based on comic books but definitely inspired by them.
Women saving film criticism; The wonderfully unique Shailene Woodley; BuzzFeed hires Allison Wilmore as their first film critic; Revisiting George Lucas' American Graffiti; Sex in Pasolini films.
Odie Henderson launches our coverage of Oscar Memories from some of our most notable contributors.
An open letter from Woody Allen; an Edna Krabappel tribute; the possibility of a "Prometheus 2"; why film festivals reject good films; the return of "Black Angel" (the film meant to precede "Empire Strikes Back").
Triceratops never existed; Coppola and DePalma betwixt passions; 8 books every educated person should read; the Syrian rebel problem; The Last Temptation of Christ revisited; Herzog + Morris.
An amazing special Roger made with Gene Siskel in 1990, talking to Martin Scorsese, Steven Spielberg and George Lucas about the future of movies.
Edgar Wright, the director of "The World's End," talks about the dangers of nostalgia, his work on "Ant Man" and the amazing references some people think they see in his films.
Why you should always go to the funeral; six reasons why DVDs will survive; a 40th anniversary celebration of "Super Fly"; Dr. StrangeCinema's indictment of Spike Lee's Kickstarter campaign; on Buzzfeed's fatuous lists; Saul Bass' legendary movie posters; Siskel and Ebert's 1990 special about the "Future of the Movies."
Michael Mirasol muses on "Pacific Rim" and the strange antagonism to the film, and on its relationship to its inspirations.
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...
As a companion piece to our reassessment of "At Long Last Love," Peter Bogdanovich recalls the film's orgins, its forgotten pleasures, and the studio-mandated tinkering that turned it into a box office bomb. He also recalls turning down an offer of help from Gene Kelly, casting Burt Reynolds, and a remarkable encounter with Roger Ebert.
The destruction of Vulcan, one of the most crucial planets in the "Star Trek" universe, should be at the core of J.J. Abrams’ "Trek" movies. It is the single development that most distinguishes the original series from Abrams’ reboot, an event so boldly imagined that it marks the filmmakers’ new, blank canvas with a hideous dark stain.
By Kevin Lee, Our Far-Flung Correspondent
In the age of YouTube and Vimeo, one of the most exciting developments in film culture are online video essays that explore different aspects of the movies. These videos take footage from films and reconfigure them using editing, text, graphics and voiceover to reveal startling observations and insights, visualizing them in ways that text criticism can't. These videos are typically produced independently by using consumer-level equipment, demonstrating that just about anyone with a computer can be both a filmmaker and a critic. The only limits are those of imagination and intelligence.
Jan de Bont's "Speed 2: Cruise Control" is one of the most maligned movies of all time, earning the wrath of critics and audiences alike. It has a Rotten Tomatoes rating of two percent and an average IMDB grade of 3.5--levels usually reserved for such monstrosities as The Village People's "Can't Stop the Music" (8/ 3.7) and the insult to all things good and decent that is Adam Sandler's "That's my Boy" (21/ 5.5). Judging from its box office performance, more people hated "Speed 2" than actually saw it. Yet I have to admit that after watching it on its opening weekend in 1997, I left the theater more than happy and was not surprised by the thumbs-ups it received from Siskel & Ebert. Then all hell broke loose. When I dis a movie a friend likes, all he has to do is bring up "Speed 2."
Marie writes: The ever intrepid Sandy Khan shared the following item with the Newsletter and for which I am extremely glad, as it's awesome..."Earlier this year, the Guggenheim Museum put online 65 modern art books, giving you free access to books introducing the work of Alexander Calder, Edvard Munch, Francis Bacon, Gustav Klimt & Egon Schiele, and Kandinsky. Now, just a few short months later, the Metropolitan Museum of Art has launched MetPublications, a portal that will "eventually offer access to nearly all books, Bulletins, and Journals" published by the Met since 1870."
Marie writes: This week's Newsletter arrives a day early and lighter than usual, as come Tuesday morning, I'll be on a Ferry heading to Pender Island off the West Coast, where I've arranged to visit old friends for a few days and enjoy my first vacation in two years; albeit a brief one. No rest for the wicked. :-)
San Diego Comic-Con International is a celebration of cartoons, costumes and fictional and real characters. Recent years have brought increasing commercialization. Many of the panels are little more than tantalizing propaganda for upcoming TV programs and movies and the panels bare their wares as brazenly as the whores who used to walk the Gaslamp District before it became a hip place to be. But SDCC is also a venue for introducing and releasing movies that have a link to geek culture and SDCC hosts a Comic-Con International Independent Film Festival.
Published with Press Play on Indiewire
With the unparalleled box office success of The Avengers, superheroes are back in the spotlight. Most comic book aficionados are delighted with the recognition. But believe it or not, there are those such as myself who are dismayed at how superhero films, though more popular than ever, seem to be losing their luster.
HAPPY BELATED BIRTHDAY TO THE EBERT CLUB!
Marie writes: club member Sandy Kahn has submitted the following and I salute her web skills for having found it. Namely, an upcoming auction of film memorabilia the likes of which you rarely if ever see...
• "The Outer Limits" (original series) is available on Netflix (DVD), Hulu Plus and Amazon Instant Video. • "In Cold Blood" is available on Netflix (DVD and Blu-ray) and Amazon Instant Video. • "Cool Hand Luke" is available on Netflix (DVD and Blu-ray) and Amazon Instant Video. • "American Beauty" is available on Netflix (DVD and Blu-ray) and Amazon Instant Video. • "Road to Perdition" is available on Netflix (DVD and Blu-ray).
by Jeff Shannon Eyes Wide Open: A Single Artist's Vision
Ask anyone who's devoted their life to the study and appreciation of movies and they can probably tell you exactly when they were "bitten by the movie bug," that moment of personal epiphany that sparked an all-consuming passion for what is arguably the greatest, most powerful medium of artistic expression.
In my case, it was Stanley Kubrick's "2001: A Space Odyssey" that literally changed my life. That's an influential milestone I share with many cinephiles who came of age in the 1950s and '60s, especially those "movie brats" (among them James Cameron, George Lucas and Steven Spielberg) who were drawn to imaginative visions of the future. Because I'd spent most of my childhood outdoors or casually enjoying Disney films and other kid-friendly fare, I didn't see Kubrick's visionary masterpiece until it played a return engagement at Seattle's glorious Cinerama Theater, in 1971, when I was nine years old.
(With its huge, curved Cinerama screen, the Cinerama is still the only theater in Seattle capable of showing "2001" as Kubrick intended. It exclusively hosted the film's original 77-week Seattle run beginning in April 1968, and the fully restored 70-millimeter print of "2001" had its world premiere there, appropriately enough, in 2001, two years after the aging cinema was purchased and beautifully renovated by Microsoft co-founder Paul Allen. It's now one of only three theaters in the world -- along with the Cinerama Dome in Los Angeles and the Pictureville Cinema in Bradford England -- equipped to exhibit three-panel Cinerama, requiring three synchronized projectors for the only seven films created in the three-strip Cinerama process, including 1956's "This Is Cinerama" and 1962's "How the West Was Won." Starting this week [Sept. 30th] and running through mid-October, Seattle's Cinerama is hosting a "70mm Festival" of 15 films, including "2001," that originally premiered there.)
Like no other film before it, "2001" opened my eyes to the power of a single artist's vision and led me to understand the supremacy of a great director. I didn't know it then, but I'd discovered the basis of auteur theory, and while it would be foolish to deny that film is (to echo that award-acceptance cliché) the most collaborative of all art forms, it's no contradiction to embrace the Kubrick quote that greets all visitors to kubrickfilms.com, Warner Bros.' authorized Kubrick website: "One man writes a novel. One man writes a symphony. It is essential for one man to make a film." (Disregard "man"; Kubrick would've been the first to include female filmmakers in his statement.)