Brad Bird's "Tomorrowland" articulates its messages rather awkwardly, but the filmmaking is superb, and it doesn't feel like anything else.
* 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.
Writer Odie Henderson responds to our Movie Love Questionnaire.
I'm not naive enough to believe that, at some point in history, the media political coverage (national or international) was in fact absolutely impartial. After all, controlling the typewriter and, later, computer keyboards were human beings with their own passions and ideologies - and it is clear that, even if they tried to be objective (those who tried, at least), they couldn't avoid filtering one fact or another by following their particular beliefs. Unfortunately, even though that occurs, I doubt that the level of indoctrination exhibited by professional journalism in History reached the alarming level of proselytism we have witnessed in recent years: while in United States 9/11 turned the media into a spokesperson of Bush's government, allowing him to lead the country to a war based on lies (something that many realized only a while ago), in Brazil large "journalistic" vehicles clearly embraced right-wing candidates during recent elections with no attempt whatsoever of masking their partisanship.
View image Richard Widmark, straight shooter.
You may have heard some version of this story about Richard Widmark, who died last week at age 93. I was there, at the Telluride Film Festival in 1983 when it happened, in the Sheridan Opera House for the tributes to Andrei Tarkovsky and Widmark. Emotions were heightened, perhaps, not only by the thin mountain atmosphere, but but by a terrifying Cold War showdown between Leonid Brezhnev's Soviet Union and Ronald Reagan's USA (I don't know which scared me more at the time) over the shooting down of Korean Air Lines Flight 007, which we didn't learn about until we got to Telluride. Things were chilly up there.
The emotions associated with my memories are indelible, even if their precision has faded. But the gist of what Richard Widmark said that weekend, and the eloquence with which he said it, will always stay with me. Shortly after Widmark's death, I contacted Gary Meyer, director of the Telluride Film Festival (whom I'd known as co-founder of Landmark Theatres), to see if Widmark's tribute speech was transcribed anywhere, because I would love to reprint it. Those were relatively early days for the Telluride festival (which began in 1974 and seemed much more remote than it is now) and Gary couldn't find any record of the speech, which I remember Widmark reading from notes he produced from his jacket pocket. But he did find some 1983 press coverage, from which I have pieced together the following "story."
John Sayles has directed 13 movies in the last 22 years, 11 of them produced by his wife, Maggie Renzi. They span a remarkable range of subject matter, from the sci-fi humor of "The Brother From Another Planet" to the baseball drama "Eight Men Out" to the coal-miners of "Matewan" to the Irish folk tale "The Secret of Roan Inish" to the buried secrets of "Lone Star." And find the link between "Passion Fish," "Limbo," "Return of the Secaucus Seven" and "Men with Guns," which he shot in Spanish in Latin America. And how do they connect with "Sunshine State," his new film about a resort community in turmoil in Florida?
“Kramer vs. Kramer,” the drama of a child custody fight, won nine Academy Award nominations on Monday – and so, in a surprise, did "All That Jazz," about a Broadway director’s self-destruction.