The running time of his new picture Winter Sleep, three hours and change, suggests weight, but at it happens, this movie struck me as both…
* 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.
Steve Erickson discusses James Gray's career with the director of the upcoming The Immigrant.
A recap of the latest Silicon Valley episode; Hollywood scandals in the new era; Movie magic in the 21s century; Summer film anticipation guide; Ebertfest coverage.
Ten years after it debuted on MTV, Craig Lindsey analyzes the Brooklyn-capturing, still-powerful video for "99 Problems" by Jay-Z, directed by Mark Romanek.
Sheila writes: Those of you attending Ebertfest, a note from Chaz:We will have our annual Ebert Club Meet and Greet at the Roger Ebert Film Festival, Thursday, April 24, 2014 at 8 am - 10 am in the Illini Union, General Lounge. Also invited are the Far Flung Correspondents and writers from Rogerebert.com. I look forward to seeing you there!
Writer Dan Callahan responds to our Movie Love Questionnaire.
With several new dramas returning or premiering in the next week, Brian Tallerico says The Americans and The Red Road are two to watch.
Sheila writes: While life can often be messy and awful, and the bombardment of bad news from around the globe is disheartening to say the least, sometimes it really helps to sit back, relax, and watch a bunch of guys working together to play "Flight of the Bumblebees" on the cliched 100 bottles of beer on the wall. This clip came out a couple of years ago and I haven't tired of it. I love the collaboration and the creativity. I love in particular the scene that isn't shown here, the one where they worked it all out.
Michał Oleszczyk talks with director James Gray about "The Immigrant."
Barbara Scharres sets the stage the 66th annual Cannes Film Festival.
Marie writes: Christmas is almost upon us, and with its impending arrival comes the sound of children running free-range through the snow, while grown-ups do battle indoors in the seasonal quest to find the perfect gift...
The bottom line: Casey Affleck thinks of it as a performance and not as an act, and he thinks of "I'm Still Here" as a film, and not a hoax. In an interview where he revealed details behind the making of his controversial film with and about Joaquin Phoenix, he also said:
• David Letterman was not in on the performance, and what you saw on his show was really happening.
• Phoenix dropped out of character when he was not being filmed or in public.
• The drugs and the hookers were staged. The vomiting was real.
Ow, my brain hurts. So, let's just get these out of the way, shall we? In the annual Village Voice/LA Weekly Film Poll, announced just before Christmas, 94 critics (including me) came up with 160 nominations for best films of 2009 -- and voted in a bunch of other categories, too, including Best Film of the Decade ("Mulholland Dr."). [My decade favorites are here.]
Meanwhile, Film Comment polled another big batch o' crix (a lot of the same ones, in fact) and came up with a somewhat different 20 Best of 2009 list -- and 150 Best Films of the Decade (topped by... "Mulholland Dr."). Just for fun, let us compare the two groups' Top Dozen for both year and decade:
The programming director of the Gene Siskel Film Center in Chicago is blogging from Cannes for us.
Thursday, May 14--You can't beat the weather here in Cannes. After the cold rain and dark skies in Frankfurt, where I changed planes yesterday, the perfect, summery temperatures and extravagant displays of flowers makes this town seem even more like a Mediterranean paradise than usual.
The festival kicked off to the world Wednesday night with the first red-carpet walk by the jury, and the Pixar folks with their 3-D animated feature "Up", but for most of us in film-industry jobs, the festival is already well underway with press screenings, market screenings, and press conferences.
Those who doubt how thoroughly the sensibilities of the French New Wave have been absorbed into the work of today's filmmakers (see discussion of the recently posted Opening Shot for Truffaut's "The 400 Blows") should check out Matt Zoller Seitz's series of video exploring the "scavenger-hunt" sensibility of Wes Anderson, "The Substance of Style," at Moving Image Source. Part 1 (of five) has been posted, with the rest to follow over the first week in April.
Matt -- as writer, editor and narrator -- not only compares images that Anderson has lovingly quoted and reinterpreted from the works of Francois Truffaut, Orson Welles and Charles Schultz (and Bill Melendez, director of the Peanuts television specials), but teases out subtler influences at play in Anderson's work -- his features ("Bottle Rocket," "Rushmore," "The Royal Tennenbaums," "The Life Aquatic with Steve Zissou," "The Darjeeling Limited), shorts and commercials, including his famous American Express ad based on the Opening Shot of Truffaut's "Day for Night." (Coming in Part 2: Martin Scorsese, Richard Lester and Mike Nichols.) Says Matt:
Anderson draws much inspiration from French New Wave filmmakers, including Jean-Luc Godard, a clear influence on his cutting, and Louis Malle, whose "Murmur of the Heart" heavily influenced the tone of all his films. But towering over the rest is François Truffaut, an impresario in the Welles tradition, but a warmer and more earthbound auteur.
Read Ebert's tribute to Gene Siskel, who died ten years ago, here.
CANNES, France -- I am a little dizzy. I have just returned from a $2,500-a-ticket dinner auction that followed a fashion show of Victoria's Secret swimwear and included Kenneth Branagh and James Caan stripping to the waist to be massaged by supermodel Heidi Klum on top of a piano later to be played by Elton John, while Harvey Weinstein auctioned off lunch with Nelson Mandela for $100,000.