Slick, glossy and radiating juicy villainy, it knows exactly what kind of movie it is and goes for it with giddy abandon.
* 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 review from Sundance of Maya Forbes' "The Polka King," which had its world premiere Sunday night.
A preview of what's playing at the 2017 Sundance Film Festival, including some recommendations from what we've seen so far.
Premieres, Midnights, Special Events and more have been announced for next month's Sundance Film Festival.
Writers at RogerEbert.com pick their favorite cinematic remedies to elevate their moods.
A report from SDCC on an actor who has been in all three of the new "Star Trek" films. Well, sorta.
Roger's Favorites: Richard Linklater, writer/director of "Waking Life."
A recap of the 88th Annual Academy Awards.
A review from Sundance of "Richard Linklater: Dream is Destiny."
An overview of the films that will be theatrically released in the 2015 fall season.
A review of two new HBO comedies: Ballers and The Brink.
Writer/director Richard Linklater and editor Sandra Adair discuss "Boyhood" as part of the Film Independent Directors Close-Up series.
Rise of the black British actor in America; The gaze of "Foxcatcher"; Chris Kyle was a hate-filled killer; Sophia Takal on "The Lego Movie"; Sorry celebrities, the TCA does not clap.
Richard Linklater discusses the release of Bernie Tiede and the production of "Boyhood."
Mark your calendar for April 23–27, 2014 and get your pass while they last.
Seongyong Cho sings the praises of Richard Linklater's quirky small-town true-crime comedy "Bernie."
What are we to make of Owen Wilson, he with the tow-colored mop of hair, the crooked nose, and the smile that seems to need so much in return? In certain contexts, Owen Wilson's smile is heartbreaking. Not just in more serious roles, but in everything. One does not often think of grown men as being "wistful" or full of "pathos"; only little plucky orphans in pig-tails and pinafores should be "wistful."
PRESS RELEASE: CHAMPAIGN, Ill. -- Terrence Malick's 1978 film "Days of Heaven" won an Oscar for best cinematography, and Roger Ebert likely found that no surprise. It is "above all one of the most beautiful films ever made," Ebert said in a 1997 review. So it's only appropriate that the film will open the 15th annual Roger Ebert's Film Festival on April 17 in the big-screen, newly renovated Virginia Theater in downtown Champaign.
Marie writes: I can't prove it but I'm convinced they're related.
Marie writes: remember "The Heretics Gate" by artist Doug Foster? Well he's been at it again, this time as part of an exhibit held by The Lazarides Gallery - which returned to the subterranean depths of The Old Vic Tunnels beneath Waterloo Station in London, to present a spectacular group show called The Minotaur. It ran October 11th - 25th, 2011 and depending upon your choice (price of admission) dining was included from top Michelin-star chefs.Each artist provided their own interpretation of the classical myth of Theseus and the Minotaur and as with The Heretics Gate before it, Cimera, Doug Foster's new and equally as memorizing piece made it possible to project whatever comes to mind onto it, as images of body forms and beast-like faces take shape and rise from the bowels of earth. (click image to enlarge.) Photo by S.Butterfly.
Marie writes: my brother Paul recently sent me an email sharing news of something really cool at the Capilano Suspension Bridge in North Vancouver. For those who don't remember - as I'm sure I've mentioned it in the Newsletter before, the Capilano Suspension Bridge was original built 1889 and constructed of hemp rope and cedar planks. 450 feet (137m) long and 230 feet (70m) high, today's bridge is made of reinforced steel safely anchored in 13 tons of concrete on either side of the canyon (click images to enlarge.)
Marie writes: you've all heard of Banksy. But do you know about JR...?(click to enlarge image)
The Grand Poobah writes: Here's a behind the scenes lookinside our control room! This is where the magic happens.
From the Grand Poobah and Mrs. Poobah:Seasons Greetings Everyone! (click to enlarge)
Ever since David Thomson's "A Biographical Dictionary of Film" was published in 1975, browsers have said that they love to hate Thomson's contrarian arguments -- against John Ford or Frank Capra, Coppola or Kubrick, for example.¹ Fans and critics can cite favorite passages of resonant beauty, mystifyingly vague and dismissive summary judgements, and entire entries in which the man appears to have gone off his rocker. And that's the fun of it.
To be fair, Thomson broke faith with (or has been suffering a crisis of faith in) American movies at least far back as "Overexposures: The Crisis in American Filmmaking" (1981), and he's been writing about his crisis ever since. To put it in a sentence that could serve as the ending of one of his entries: I am willing to believe that he loves (or once loved) movies even if he doesn't like them very much. (Wait -- how does he conclude the Katharine Hepburn piece? "She loved movies, while disapproving of them.")
When I encountered the first edition of this book, the year I entered college, I immediately fell in love with it because it was not a standard reference. It was personal, cranky, eloquent, pretentious, pithy, petty, ambitious... It was, as I think Thomson himself suggested in the foreword to the first or second edition (this is the fifth), more accurately titled "An Autobiographical Dictionary of Film." Many times over the years I have implored my employers or partners to license digital rights to Thomson's book so that it could augment and be integrated with other movie databases and references (at Cinemania, FilmPix, Reel.com, RogerEbert.com)... but we've never done it. What, they would ask, is the "value-add"? (Really. Some people used to talk that way.) As a reference, its coverage is too spotty (Ephraim Katz's Film Encyclopedia is much more comprehensive but also has loads of incomplete filmographies), as criticism it's wildly idiosyncratic (nothing wrong with that) and as biography it's whimsically selective and uneven, leaving as many holes as it fills.