In Memoriam 1942 – 2013 “Roger Ebert loved movies.”


Listen to Me Marlon

A tour-de-force of editing, this is essentially a feature length film about Marlon Brando's life and personality, narrated by Brando himself.

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Ballad of Narayama

"The Ballad of Narayama" is a Japanese film of great beauty and elegant artifice, telling a story of startling cruelty. What a space it opens…


Monsieur Hire

Patrice Leconte's "Monsieur Hire" is a tragedy about loneliness and erotomania, told about two solitary people who have nothing else in common. It involves a…

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Cast and Crew

* 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.

#173 June 26, 2013

Marie writes: There was a time when Animation was done by slaves with a brush in one hand and a beer in the other. Gary Larson's "Tales From the Far Side" (1994) was such a project. I should know; I worked on it. Produced by Marv Newland at his Vancouver studio "International Rocketship", it first aired as a CBS Halloween special (Larson threw a party for the crew at the Pan Pacific Hotel where we watched the film on a big screen) and was later entered into the 1995 Annecy International Animated Film Festival, where it won the Grand Prix. It spawned a sequel "Tales From the Far Side II" (1997) - I worked on that too. Here it is, below.

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All Together: Communal living, senior style


"All Together," or "Et si on vivait tous ensemble?" (97 minutes) is available via VOD on various cable systems, and on iTunes, Amazon Instant and Vudu.

The cinema of 2012 is brought to you by Viagra, or so it seems. The year has been chock full of movies about horny old people. Sure, the characters still complain, have aches and pains, and deal with moments both senior and regrettable. But Nana's also out to prove she's still got the ill na na, and Gramps is in the mood like Glenn Miller on an endless loop. Films like Dustin Hoffman's "Quartet," with its randy Billy Connolly, and the main characters of Stephane Robelin's "All Together" dispel the myth that once you go gray, the sex goes away. These folks are reclaiming "bitch and moan" from its grumpy origins, and turning the phrase into a cause-and-effect relationship.

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#135 September 26, 2012

Marie writes: It's no secret that most Corporations are evil - or at the very least, suck big time. And while I have no actual proof, I'm fairly certain there is a special level of Dante's Hell reserved just for them. (Map of Dante's Hell.)That being the case, when my younger brother Paul wrote me about a cool project sponsored by Volkswagen, I was understandably wary and ready to denounce it sight-unseen as self-serving Corporate shyte. As luck would have it however, I was blessed at birth with curiosity and which got the better of me and why I took a look. For what I found was nothing less than extraordinary....

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#115 May 16, 2012

Marie writes: Behold a truly inspired idea...Age 8: Eileen's pink creature It started with a simple idea: to make a recognizable comfort toy for her 4 year-old son Dani, based on one of his drawing. His school had asked the children to bring in a toy from home; an emergency measure in the event of a tantrum or crying fit. Fearing he might lose his favorite, Wendy Tsao decided to make Dani a new one. Using a drawing he often made as her guide, she improvised a plush toy snowman. Five years later, Wendy Tsao has her own thriving home-based craft business - Child's Own Studio - in which she transforms the imaginative drawings of children into plush and cloth dolls; each one handcrafted and one-of-a-kind. She receives requests from parents all over the world; there's 500 people on waiting list. Note: kudos to club member Sandy Kahn for submitting the piece.

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"The Tree of Life" takes the Palme d'Or

The Closing Ceremony of the 64th Cannes International Film Festival took place today in the Grand Theatre Lumiere in the Festival Palais at 7:15 pm French time.

Since I had already left the festival on Friday, I was watching online as Jane Fonda slithered up to the microphone to present the Palme d'Or, looking like a

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Opening Shots: The Player


From Jason Haggstrom (haggie), Reel 3:

The opening shot of Robert Altman's "The Player" establishes the film as a self-reflexive deconstruction of the Hollywood system and those who run it. With its prolonged shot length, the take is also designed as a means to introduce the bevy of players who work on the lot and to setup the film's general plot--or at least its tone--as a thriller/murder mystery.

The first image in this extended opening shot is of a film set--a painting of one, to be precise. We hear the sounds of a film crew before a clapper pops into the frame. The (off-screen) director shouts "And... action" informing the audience that the film should be viewed as a construct, a film. The camera tracks back to reveal its location on a Hollywood studio lot where movies are described not in accolades of quality, but of quantity with an oversized sign that reads, "Movies, now more than ever."

The lot is filled with commotion. Writers come and go (some invited, some not) as do executives, pages, and assistants. The political hierarchy is highlighted through dialog and interactions that expose the value system of Hollywood. The most powerful arrive by car; high-end models pervade the mise-en-scène in all of the take's exterior moments. An assistant is made to run (literally, and in high heels) for the mail, and then -- before she even has a chance to catch her breath -- to park an executive's car.

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The China / Fukushima Syndrome

May Contain Spoilers

While I heard the alarming reports coming from the Fukushima I nuclear power plant, an unforgettably intense sequence from "The China Syndrome" (1979) immediately came to my mind. An earthquake occurs without warning. The power plant is automatically shut down. They get a problem with the level of the coolant. The plant is on the verge of nuclear meltdown. The catastrophe of epic proportions may happen as a consequence.

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They shot horses, didn't they?


"They Shoot Horses, Don't They?"

Four Stars

Gloria Jane Fonda Robert Michael Sarrazin Alice Susannah York Rocky Gig Young

Cinerama presents a film directed by Sydney Pollack. Screenplay by James Poe and Robert E. Thompson. Running time: 123 minutes. MPAA Rating: PG.

Review / Roger Ebert (1970)

Erase the forced smiles from the desperate faces, and what the dance marathons of the 1930s came down to was fairly simple. A roomful of human beings went around and around within four walls for weeks at a time without sleep, populating a circus for others who paid to see them. At the end, those who didn't collapse or drop dead won cash prizes that were good money during the Depression. And the Depression, in an oblique sort of way, was the reason for it all. The marathons offered money to the winners and distraction to everyone else.

To be sure, some of the marathons got pretty grim. Contestants tried to dance their way through illnesses and pregnancies, through lice and hallucinations, and the sight of them doing it was part of the show. Beyond the hit tunes and the crepe paper and the free pig as a door prize, there was an elementary sadism in the appeal of the marathons.

Among American spectator sports, they rank with stock-car racing. There was always that delicious possibility, you see, that somebody would die. Or freak out. Or stand helplessly while his partner collapsed and he lost the investment of hundreds of hours of his life.

"They Shoot Horses, Don't They?' is a masterful re-creation of the marathon era for audiences that are mostly unfamiliar with it. In addition to everything else it does, "Horses" holds our attention because it tells us something we didn't know about human nature and American society. It tells us a lot more than that, of course, but because it works on this fundamental level as well it is one of the best American movies of the 1970s. It is so good as a movie, indeed, that it doesn't have to bother with explaining the things in my first two paragraphs; they are all there and that's where I found them, but they are completely incorporated into the structure of the film.

Director Sydney Pollack has built a ballroom and filled it with characters. They come from nowhere, really; Michael Sarrazin is photographed as if he has walked into the ballroom directly from the sea. The characters seem to have no histories, no alternate lives; they exist only within the walls of the ballroom and during the ticking of the official clock. Pollack has simplified the universe. He has got everything in life boiled down to this silly contest; and what he tells us has more to do with lives than contests.

Sarrazin meets Jane Fonda, and they became partners almost absentmindedly; he wasn't even planning on entering a marathon. There are other contestants, particularly Red Buttons and Bonnie Bedelia in splendid supporting performances, and they are whipped around the floor by the false enthusiasm of Gig Young, the master of ceremonies. "Yowzza!Yowzza!" he chants, and all the while he regards the contestants with the peculiarly disinterested curiosity of an exhausted god.

There are not a lot of laughs in "Horses," because Pollack has directed from the point of view of the contestants. They are bitter beyond any hope of release. The movie's delicately timed pacing and Pollack's visual style work almost stealthily to involve us; we begin to feel the physical weariness and spiritual desperation of the characters.

The movie begins on a note of alienation and spirals down from there. "Horses" provides us no cheap release at the end; and the ending, precisely because it is so obvious, is all the more effective. We knew it was coming. Even the title gave it away. And when it comes, it is effective not because it is a surprise but because it is inevitable. As inevitable as death.

The performances are perfectly matched to Pollack's grim vision. Jane Fonda is hard, unbreakable, filled with hate and fear. Sarrazin can do nothing, really, but stand there and pity her; no one, not even during the Depression, should have to feel so without hope. Red Buttons, as the sailor who's a veteran of other marathons and cheerfully teaches everybody the ropes, reminds us that the great character actor from "Sayanora" still exists, and that comedians are somehow the best in certain tragic roles.

And that's what the movie comes down to, maybe. The characters are comedians trapped in tragic roles. They signed up for the three square meals a day and the crack at the $1,500 prize, and they can stop after all whenever they want to. But somehow they can't stop, and as the hundreds and thousands of hours of weariness and futility begin to accumulate, the great dance marathon begins to look more and more like life.

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Public Edition #4


This free Newsletter is a sample of what members receive weekly.For Roger's invitation to the Club, go HERE Marie writes: some of you may recall seeing a custom-built "steampunk" microphone stand made for the group Three Days Grace, by sculptor Christopher Conte; there were pictures of it inside the #14 Newsletter.Born in Norway, Christopher Conte was raised and educated in New York, where he currently lives. After earning a Bachelors Degree in Fine Art, he began working in the prosthetics field making artificial limbs for amputees; which he did for 16 years as a Certified Prosthetist. At the same time, he worked in obscurity creating sculptures which reflected his love for biomechanics, anatomy and robotics. In June 2008, he left the field to begin his career as a full-time artist. And you can now view his work portfolio online...

The Sculpture of Christopher Conte

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