Schwarzenegger has turned into your elderly uncle, dancing like a goofball at your wedding after a couple glasses of champagne. He knows he’s being silly,…
* 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 preview of dozens of films being released this Summer.
A TIFF report on "While We're Young," "Welcome to Me," "The Duke of Burgundy," "The Vanished Elephant," and "Big Game."
Matt Zoller Seitz's Top 10 films of 2013.
Susan Seidelman has been making films for over 30 years. Her work includes "Desperately Seeking Susan," the pilot for "Sex and the City," and her new sports comedy "The Hot Flashes." Her story is the story of women in Hollywood: a study in creativity, courage and strength. A profile by RogerEbert.com's Christy Lemire.
Linked here are reviews in recent months for which I wrote either 4 star or 3.5 star reviews. What does Two Thumbs Up mean in this context? These films are worth going out of your way to see, or you might rent them, add them to your Netflix, Blockbuster or TiVo queues, get them by VOD, watch for them on cable, anything. Many of the older titles are already streaming on Netflix and Amazon.
"Another Year" (PG-13, 129 minutes). Tom and Gerri (Jim Broadbent and Ruth Sheen) and long and happily married. Their frequent visitor is Mary (Lesley Manville), a unhappy woman with a drinking problem who needs shoring up with their sanity. Mike Leigh's new film is one of his best, placing as he often does recognizable types with embarrassing comic and/or dramatic dilemmas. One of the year's best films. Four stars
"My Dog Tulip" (Unrated, 83 minutes). The story of a man who finds love only once in his life, for 15 perfect years. It is the love of a dog. It may be the only love he is capable of experiencing. This is an animated film combining elating visuals with a virtuoso voice performance by Christopher Plummer. Nor for children. Foe adults who will admire its beauty and profundity. Directed and animated by Paul and Sandra Fierlinger. Four stars
"Inspector Bellamy" (Unrated, 110 minutes). Gerard Depardieu stars as a famous Parisian police inspector who is on holiday when a man tells him, "I committed murder...sort of." Claude Chabrol's final film, written with Depardieu in mind, is inspired in part by Simenon's Inspector Maigret, and follows Bellamy as he unwinds the strange story of the murder, while also, like Simenon, becoming fascinated by side characters, such as Bellamy's troubled half-brother. Marie Bunel is warm and supportive of her husband, and a good confidant during pillow talk about crime. Three and a half stars.
"The Illusionist" (PG, 90 minutes). A magician named Tatischeff fails in one music hall after another, and ends up in Scotland, where a young woman takes care of him and believes in him, even when he's reduced to performing in store windows. An animated film based on the final screenplay of Jacques Tati, and directed by Sylvain Chomet ("The Triplets of Belleville"). Four stars
"Barney's Version" (R, 132 minutes). Paul Giamatti stars as an unremarkable Montreal TV producer who drinks too much, smokes too many cigars, and discards two women in quick divorces before finding at last one far too good for him (Rosamund Pike). Dustin Hoffman has a smallish but particularly good role as his father. Giamatti won the 2011 Golden Globe award as best actor. Three and a half stars
"All Good Things" (R, 101 minutes). David (Ryan Gosling) is the rebellious son of a wealthy Manhattan family that owns sleazy 42nd Street real estate. He marries Katie (Kirsten Dunst), and they move to Vermont to open an organic products store. But his father (Frank Langella) pressures him to return to the family business, and he undergoes alarming changes eventually connected to two murders. Based on one of those true stories Dominick Dunne used to write about in Vanity Fair. Three and a half stars
"Blue Valentine" (R, 120 minutes). Ryan Gosling and Michelle Williams as Dean and Cindy in two seasons of marriage: Six years ago when love was fact, and today, when love proves unable to support the weight of real life. Director Derek Cianfrance closely observes the details as his couple fail to comprehend the larger picture. Dean thinks marriage is the station. Cindy thought it was the train. Three and a half stars
"The King's Speech" (R, 118 minutes). After the death of George V and the abdication of his brother Edward, Prince Albert (Colin Firth) becomes George IV, charged with leading Britain into World War Two. He is afflicted with a torturous stammer, and his wife (Helena Bonham Carter) seeks out an unorthodox speech therapist (Lionel Logue) to treat him. Civilized and fascinating, this is the story of their unlikely relationship. (The R rating, for language, is absurd; this is an ideal film for teenagers.) Four stars
"True Grit" (PG-13, 110 minutes). An entertaining remake of the 1969 film, and more. Jeff Bridges as Rooster Cogburn easily fills John Wayne's boots, and Hailee Steinfeld is very special as young Mattie Ross, who hires the old marshal to help her hunt down the varmit what killed her old man. Not a "Coen Brothers Film," but a flawlessly executed Western in the grand tradition. Strong support from Matt Damon, Josh Brolin and Barry Pepper. Three and a half stars
"Somewhere" (R, 96 minutes). Johnny Marco Stephen Dorff is a movie star. He has access to sex, booze, drugs, but feels no pleasure. He sits in a Los Angeles hotel room, stuck. His 11-year-old daughter (Elle Fanning) comes to stay for a few days, but he clearly has no feeling for fatherhood. He's given an award in Milan but hardly notices in the confusion of strangers around him in a hotel suite. He retreats to the same famous West Hollywood where John Belushi died, which for him might have been a recommendation. Sofia Coppola's film, winner of the Golden Lion at Venice, is a masterpiece of observation of hopelessness. Four stars
"Rabbit Hole" (R, 91 minutes) Becca (Nicole Kidman) and Howie (Aaron Eckhart) are trying their best to get on with things. This is the tricky and very observant story of how a married couple is getting along, eight months after their 4-year-old ran out into the street and was struck dead by a car. They were leveled with grief. Their sex life stopped. They lived for a time in a daze, still surrounded in the house by the possessions of the child who no longer lives there. I know all this sounds like a mournful dirge, but in fact "Rabbit Hole" is entertaining and surprisingly amusing, under the circumstances. Three and a half stars
"Black Swan" (R, 108 minutes). Natalie Portman in a bravura performance as a driven perfectionist, a young ballerina up for a starring role at Lincoln Center. Her life is shadowed by a smothering mother (Barbara Hershey), an autocratic director (Vincent Cassel) and a venomous rival (Mila Kunis) and her deposed predecessor (Winona Ryder). A full-bore melodrama, told with passionate intensity, gloriously and darkly absurd. Directed by Darren Aronofsky. Three and a half stars
"Carlos" (Unrated, 332 minutes). A remarkable portrait of a despicable man, the terrorist Carlos ("the Jackyl"), who from 1975 to 1994 directed a shadowy group of violent militants that dealt in kidnapping and murder. Edgar Ramirez is powerful in the title role, as an egomaniac whose primary cause seems to be himself. With reckless boldness he eludes an international manhunt until finally even his masters grow tired of him. Unflinching, detailed, absorbing. Directed by Olivier Assayas. Three and a half stars
"White Material" (Unrated, 105 minutes). Isabella Huppert plays a French woman in Africa, managing the coffee plantation that was her ex-husband's. War stirs in the land, and she is warned to evacuate. She finds that unthinkable. This is her home, this is her farm, and she will bring in the crop. The movie doesn't sentimentalize or make a political statement; like its heroine, it doesn't have theories. A beautiful, puzzling film; the enigmatic quality of Huppert's impassivity draws us in. Three and a half stars
"I Love You Phillip Morris" (R, 98 minutes) Jim Carrey in the true life story of outrageous con man Steven Russell, who impersonated doctors, lawyers, FBI agents, and corporate executives. He convinced prison officials he had died of AIDS, successfully faked a heart attack, and escaped from jail four times (hint: always on Friday the 13th). Ewan McGregor plays his cellmate Phillip Morris, who Steven falls in love with. Thereafter his life consists of trying to get Steven out of jail, or trying to escape to be with him. Audacious. Jim Carrey's mercurial personality was almost necessary to even make this movie. Three and a half stars
"Hereafter" (PG-13, 129 minutes). Clint Eastwood considers the idea of an afterlife with tenderness, beauty and a gentle tact. Matt Damon stars as a man who believes he has a genuine psychic gift, and suffers for it. Cecile de France is a French newsreader who has a near-death experience. Frankie McLaren is a small boy seeking his dead twin. The stories converge, but in a way that respects the plausible. Not a woo-woo film but about how love makes us need for there to be an afterlife. Four stars
"Made in Deganham" (R, 113 minutes). Delightful serious comedy about the historic 1968 in Ford's British plant that ended its unequal pay for women, and began a global movement. Sally Hawkins plays Rita O'Grady, who caught the public fancy as a strike leader. Bob Hoskins is a sympathetic union organizer, and Miranda Richardson plays Barbara Castle, the minister of labor who unexpectedly sided with the striking women. Three and a half stars
"Monsters" (R, 93 minutes). An American photojournalist (Scoot McNairy) shepherds the daughter of his boss (Whitney Able) north from Mexico though a dangerous Infected Zone occupied by an alien life form. But this isn't a "monster movie," or an exploitation film. It's an uncannily absorbing journey transformed by the fact of Beings who are fundamentally different from any life form we have imagine. Writer-director Gareth Edwards, who also created the special effects, builds toward a climax combining uncommon suspense and uncanny poetry. Three and a half stars
"Unstoppable" (PG-13, 98 minutes) A runaway train hurtles at 70mph, and the movie is as relentless as the train. Denzel Washington and Chris Pine try to stop it, and Rosario Dawson is the hard-driving dispatcher. In terms of sheer craftsmanship, this is a superb film. Directed by Tony Scott. Three and a half stars
"Morning Glory" (PG-13, 110 minutes). Rachel McAdam transforms a conventional plot into a bubbling comedy with her lovable high energy. She plays an ambitious young producer on a last-place network morning news show, who forces a reluctant TV veteran (Harrison Ford) to do the kind of TV he despises. A lot of laughs, including Diane Keaton as Ford's veteran co-anchor, Matt Malloy as a goofy weatherman and Jeff Goldblum as the boss who considers the show dead in the water. Three and a half stars
"127 Hours" (R, 93 minutes). The harrowing true story of James Franco, a rock climber whose arm was pinned to a Utah canyon wall by a boulder. In desperation he amputated his own arm to free himself. James Franco stars in Danny Boyle's film, which is gruesome but not quite too gruesome to watch. It's rather awesome what an entertaining and absorbing film Danny Boyle has made here. Yes, entertaining. Four stars
"Buried" (R, 93 minutes). Paul Conroy (Ryan Reynolds) is a truck driver working for a private contractor in Iraq. He comes to consciousness in blackness. He feels around and finds a lighter. It its flame his worst fears are realized. He has been kidnapped, buried alive, and is a hostage. Taking place entirely within the coffin, this is a superior suspense picture that's ingenious in devising plausible events inside the limited space. Three and a half stars.
"Tamara Drewe" (PG-13, 110 minutes) A mischievous British comedy, set in a rural writer's retreat where egos and libidos are in contention. When a once-homely local girl returns home with newfound fame and an improved nose, all the men perk up with unfortunate results. With Gemma Arterton, Roger Allam, Dominic Cooper, Luke Evans and Tamsin Greig. Directed by Stephen Frears. Delightful. Three and a half star
"The Social Network" (PG-13, 120 minutes). The life and times of Mark Zuckerberg (Jesse Eisenberg), who created Facebook, became a billionaire in his early 20s, and now has 500 million members on the site he created. A fascinating portrait of a brilliant social misfit who intuited a way to involve humankind race in the Kevin Bacon Game. Everybody likes Facebook--it's the site that's all about you. With Justin Timberlake as Sean Parker, the Napster founder who introduced Zuckerberg to the Silicon Valley fast lane, Andrew Garfield as the best friend who gets dumped, and Armie Hammer as the Winklevoss twins, who sued Zuckerberg for stealing their idea. One of the year's best films. Four stars
"Secretariat" (PG, 116 minutes). A great film about greatness, the story of the horse and the no less brave woman who had faith in him. Diane Lane stars as Penny Chenery, who fell in love with Secretariat when he was born, and battled the all-male ring fraternity and her own family to back her faith in the champion. A lovingly crafted film, knowledgeable about racing, with great uplift. Also with John Malkovich, Scott Glenn, James Cromwell, Nelsan Ellis, Dylan Walsh. One of the year's best. Four stars
"Last Train Home" (Unrated, 87 minutes). Begins as a documentary about an annual New Years migration from cities to villages by 180 million Chinese, and focuses on one family; the parents have labored at low factory wages for 15 years to pay for their children's education back home, and now, as their daughter graduates high school, they may find only heartbreak as repayment. Shot over three years, it's one of those extraordinary films, like "Hoop Dreams," that tells a story the makers could not possibly have anticipated in advance. Works like stunning, grieving fiction. One of the year's best. Four stars
"Inside Job" (Unrated, 108 minutes). Exactly how Wall Street thieves eagerly sold bad mortgages, bet against them, and paid themselves millions in bonuses for bankrupting their own companies. And the Street is having another good year at our expense, because Financial Reform is as far away as ever. An angry, devastating documentary. Four stars
"Let Me In" (R, 115 minutes). A well-made retelling of the Swedish "Let the Right One In," which doesn't cheapen the original but respects it and adds some useful events. Owen (Kodi Smit-McPhee) is a bullied, neglected boy, and Abby (Chloe Grace Moretz of "Kick Ass") is the girl who moves into the next apartment and has "been twelve for a very long time." The same cold, dark atmosphere of foreboding, in a doom-laden vampire drama. Not for Team Edward. Three and a half stars
"Scrappers" (Unrated, 90 minutes). A portrait of Otis and Oscar, two self-employed collectors of scrap metal, who troll the alleys in their trucks and vacant lots of Chicago for metals that can be sold. They work hard, they support families, they perform recycling on metals that might end up buried in garbage, and they like the work--its freedom, its independence. But metals dropped from $200 to $300 a ton to $20 with the economic collapse, and now their trade is desperate. See this and you'll never look at a scavenger with the same eyes. Three and a half stars
"Never Let Me Go" (R, 104 minutes). In an alternative time line, test-tube babies are created solely for the purpose of acting as Donors for body parts. Raised in seclusion, they accept their role. Are they really human, after all? In this sensitive, teary adaptation of the Kazuo Ishiguro novel, three of them begin to glimpse the reality of their situation, and its tragedy. With Carey Mulligan, Andrew Garfield, Keira Knightley, Charlotte Rampling, Sally Hawkins. Four stars
"Nowhere Boy" (R, 97 minutes). The Beatles are only distantly on the horizon in this deeply-felt biopic of young John Lennon growing up in Liverpool. He's at the center of a tricky relationship involving his mother, who he didn't know growing up, and his aunt, who raised him. From these years perhaps came and simultaneous elation and sadness of many of his songs. Aaron Johnson as John, Kristin Scott Thomas as his Aunt Mimi, Anne-Marie Duff as his mother Julia. Three and a half stars
"Waiting for Superman" (PG, 102 minutes). The new documentary by Davis Guggenheim ("An Inconvenient Truth") says the American educational system is failing, and dramatizes this failure in a painfully direct way, saying what is wrong, and what is right. He points to existing magnet schools that draw their students by random lottery and virtually guarantee high school graduation and acceptance by a college. He explains why bad teachers who cannot be fired are a national scandal. The film is alarming, fascinating, and in the end hopeful. Three and a half stars
"Easy A" (PG-13, 93 minutes). Funny, star-making role for Emma Stone, as a high school girl nobody notices, until she's too embarrassed to admit she spent the weekend home alone and claims she had sex with a college boy. When word gets around, she uses her undeserved notoriety to play the role to the hilt, even wearing a Scarlet Letter. And she's able to boost the reps of some of her pals by making up reports of their process. Sounds crass. Isn't. Three and a half stars
"The American" (R, 95 minutes). George Clooney is starkly defined as a criminal as obedient and focused as a samurai. He manufactures weapons for specialized jobs. He lives and functions alone. He works for a man who might as well be a master. He used few words. Only his feelings for a prostitute named Clara (Violante Placido) supply an opening to his emotions. Zen in its focus. Four stars.
"Flipped" (PG-13,90 minutes) Juli (Madeleine Carroll) has adored Bryce (Callan McAuliffe) ever since he moved into the neighborhood in the second grade. Bryce has been running away from her ever since. Now they're 14 and they seem to be flipping: he more interested, she less. Rod Reiner's warm human comedy tells their stories by showing the same crucial events from both their points of view. He returns to the time of his "Stand By Me" with the same endearing insights. Rating: Four stars
"Mesrine: Public Enemy No. 1" (R, 133 minutes). Continuation of the brutal life of France's most notorious criminal, who survived a 20-year series of bank robberies, kidnappings, prison breaks and murders. Vincent Cassel makes him brutal, ugly, powerful and inscrutable. Winner of French Oscars for best director and actor. Three and a half stars
"Mesrine: Killer Instinct" (R, 113 minutes) He was a ruthless killer, bank robber, kidnapper and prison break artist--and a self-promoting egomaniac who wrote books some compared to Camus. Vincent Cassel stars in a hard-boiled performance as the French criminal who killed on three continents and was in love with his image. Three and a half stars
"Salt" (PG-13, 100 minutes). A damn fine thriller. It does all the things I can't stand in bad movies, and does them in a good one. Angelina Jolie stars as a CISA agent fighting ingle-handedly to save the world from nuclear destruction. Hardly a second is believable, but so what? Superbly crafted, it's a splendid example of a genre action picture. Directed by Philip Noyce. Four stars
"Inception" (PG-13, 148 minutes). An astonishingly original and inventive thriller starring Leonardo DiCaprio as a men who infiltrates the minds of others to steal secrets. Now he's hired to implant one. Ken Watanabe is a billionaire who wants to place at idea in the mind of his rival (Cillian Murphy). DiCaprio Assembles a team (Joseph Gordon-Levitt, Tom Hardy, Ellen Page) to assist him, in a dazzling achievement that rises above the thriller level and enters the realm of mind control--in the plot, and in the audience. Written and directed by Christopher Nolan ("Memento," "The Dark Knight"). Four stars
"The Kids are All Right" (R, 104 minutes). A sweet and civilized comedy, quietly satirical, about a lesbian couple, their children, and the father the kids share via sperm donation. When they meet him, they like him, he likes them, and their moms are not so sure. What happens is calmly funny, sometimes fraught, and very human. With pitch-perfect performances by Julianne Moore and Annette Bening as the moms, Mark Ruffalo as the dad, and Mia Wasikowska and Josh Hutcherson as the 20-something children. Directed by Lisa Cholodenko. Three and a half stars
"The Girl Who Played with Fire" (R, 129 minutes). Noomi Rapace, electrifying in last year's "The Girl with the Dragon Tattoo," returns for the second film drawn from Stieg Larsson's Millennium Trilogy. Once again she's following the same crimes as journalist Mikael Blomkvist (Michael Nyqvist), but they don't meet until late in the game as a murder trail leads to old family secrets. Well constructed, good cast, not quite up to the "Dragon" standard. Three and a half stars
"Restrepo" (R, 94 minutes). A documentary shot during the 15 months an American company fought under almost daily fire in Afghanistan's Korangal Valley, described as "the most dangerous place on earth." The Taliban is a constant presence; the Americans take fire three, four, five times a day; they establish the strategic Outpost Restrepo, named for the first of their number to die, and it seems to turn the tide in the Valley. The 15-month tour is hard duty, and our admiration grows for these men. The film is non-political; the men are fighting above all to simple survive. Four stars
"9500 Liberty" (Unrated, 80 minutes). A law similar to Arizona's controversial recent measure was passed and briefly enforced a few years ago in Virginia's Prince William County, and what happened there may be instructive. This documentary shows the rise and fall of a movement led by a right-wing blogger, and the groundswell of opposition (including many whites and Republicans) that ended it. The cost of the law in higher taxes, exposure to lawsuits and the city's image was startling. The doc shows the rise and fall of the county law, and centers on the American tradition of citizens speaking out in town hall meetings. Three and a half stars
"A Small Act" (Unrated, 98 minutes). A documentary about a Kenyan boy named Chris Mburu who grew up in a mud house, graduated from Harvard Law School, and is today a United Nations Human Rights Commissioner. His education was made possible by a $15-a-month gift from Hilde Back, a Swedish schoolteacher whose parents were Holocaust victims. Mburu started a foundation in her honor to grant more scholarships, and in the film they meet and she is honored by his village. To call it "Heartwarming" would be an understatement. Three and a half stars
"Cell 211" (Unrated, 111 minutes). Very effective thriller about a man's attempt to save his life by thinking quickly. A new prison guard, being given a tour, is left behind when a riot breaks out. Pretending to be a new prisoner, he improvises well enough to become a de facto leader of the riot, and develops a subtle relationship with the rock-hard leader of the prisoners. Winner of eight Goya awards, the Spanish Oscars, this year, including Best Picture. Three and a half stars
"I am Love" (R, 120 minutes). A sensuous and fascinating story about a modern family of Italian aristocrats. Tilda Swinton plays a Russian who has married the oldest son, learns her husband and their son will take over the family textile business, then suddenly finds herself in the middle of an unexpected affair. Masterfully direct by Luca Guadagnino. One of the year's best. Four stars
"Cyrus" (R, 91 minutes). Two lonely people (John C. Reilly and Marisa Tomei) meet at a party and like each other. She has a 20ish son (Jonah Hill) who welcomes Reilly to their home and invites him to stay for dinner. But a comedy of social embarrassment develops when it becomes clear that the son is jealous and possessive of his mother, and perhaps to physically familiar with her. No, it's not incest; let's call it inappropriate behavior that his mom doesn't seem to discourage. Reilly is caught in an awkward position, which the film simply regards, leaving us to wince in a fascinated way. Three and a half stars
"Winter's Bone" (R, 99 minutes). Jennifer Lawrence is brilliant as a 17-year-old girl who father has skipped bail and left his family threatened with homelessness. In a dirt poor area of the Ozarks, she goes seeking him among people who are suspicious, dangerous and in despair. Winner of the Grand Jury prize at Sundance 2010 and the screenwriting award, this film by Debra Granik is one of the year's best. Four stars
"Joan Rivers: A Piece of Work" (R, 84 minutes). Rivers was 75 in this film, and never tires of reminding us of that fact. She remains one of the funniest, dirtiest, most daring and transgressive of standup comics, and she hasn't missed a beat. The doc follows her for a year as she relentlessly pursues the career that her daughter, Melissa, says was like having another sister. She violates her own privacy, speaks from the heart, does not know tact, and makes us laugh a lot. If you've only seen Rivers on TV, you ain't seen nothing' yet. Three and a half stars
"The Karate Kid" (PG, 126 minutes). Faithfully follows the plot of the 1984 classic, but stands on its own feet and takes advantage of beg shot on location in China. Jackie Chan dials down convincingly as the quiet old janitor with hidden talents, and Jaden Smith (son of Will and Jada Pinkett Smith) holds the screen with glowing charisma. The obligatory final fight climax is unusually well-handled. Three and a half stars
"Solitary Man" (R, 99 minutes). Michael Douglas in one of his best performances, as a once rich and famous car dealer, now in hard times but still tireless as closing the hardest sell of all--himself. He's a seducer, a cheater, a user, but running outgo of options, in a smart comedy/drama with an excellent supporting cast including Jesse Eisenberg, Jenna Fischer, Danny DeVito and Susan Sarandon. Three and a half stars
"Please Give" (R, 91 minutes). Catherine Keener and Oliver Platt play a Manhattan couple who have a daughter and run an antique store and live next to a mean-tempered old lady (Ann Morgan Guilbert) . When she dies, they can buy her apartment. The old lady has two granddaughters, played by Rebecca Hall and Amanda Peet. When the couple invites everyone over for dinner, events are set in motion that are true, funny, and ruefully observant. Writer-director Nicole Holofcener is so perceptive about women whose lives are not defined by men; that's rare in the movies. Three and a half stars
"Death at a Funeral" (R, 92 minutes). The best comedy since "The Hangover." A big family home is the setting for a funeral that's just one damn thing after another. Remake of a 2007 Brit comedy, but a lot funnier. All-star cast includes Chris Rock, Martin Lawrence, James Marsden, Peter Dinklage, Loretta Devine, Regina Hall, Zoe Saldana, Tracy Morgan, Luke Wilson and on and on. Three and a half stars.
"Home" (Unrated, 98 minutes) A family live in a small home in the middle of vast fields and next to the highway, which hasn't been used for ten years. Then big trucks arrive to lay down a fresh coating of asphalt, and the arrival of traffic puts unbearable pressure on a family that seems a little strange from the first. With Isabelle Huppert and Olivier Gourmet. 2008 winner of the Swiss Film Prize. Three and a half stars.
"Date Night" (PG-13, 88 minutes) Steve Carell and Tina Fey play a perfectly nice married couple from New Jersey who simply want to have a great night out together in Manhattan. Mistaken for another couple, they're spun into a nightmare involving a mob boss and an unpaid debt. Funny, because they seem halfway plausible. With Ray Liotta, Mark Wahlberg, James Franco. Directed by Shawn Levy ("Night at the Museum"). Three and a half stars
"Greenberg" (R, 107 minutes). Ben Stiller in one of his best performances as a chronic malcontent who returns to L.A. to house-sit, nurture his misery, and reconnect with people who quite rightly resent him. With Greta Gerwig as an aimless but pleasant young college graduate who feels sorry for him, and Rhys Ifans and Jennifer Jason Leigh as survivors of his troublesome past. Directed by Noah Baumbach, of "The Squid and the Whale." Three and a half stars.
"Vincere" (Unrated, 128 minutes) The long-suppressed story of Mussolini's early mistress, who bore him a son and then was pushed into the shadows after he made a respectable marriage. She obsessively follows him, confronts him with their child in public, and is finally locked away by the fascists in an asylum. Giovanna Mezzogiorno's performance as Ida, the mistress, reminds me of Sophia Loren in the way she combines passion with dignity. Directed by the legendary Marco Bellocchio. Three and a half stars
"Leaves of Grass" (R, 105 minutes). Edward Norton plays a dual role as brothers: One a professor of philosophy at Brown, the other still back home in Little Dixie, Oklahoma, growing the best marijuana in the state. He may be the better philosopher. With Susan Sarandon as their mother, and Richard Dreyfuss as the state's drug kingpin. Norton gives two inspired and entirely different performances. Written and directed by Tim Blake Nelson, who also plays the best friend. One of the best films of 2010. Four stars
"45365" (Unrated, 90 minutes). An achingly beautiful portrait of small town America. The title is the zip code of Sidney, Ohio, and brothers Bill and Turner Ross grew up there and spent seven months on 2007 creating this portrait in sound and images of ordinary people, mostly nice, living their lives. No obvious structure, no message, just an appreciation of daily life that becomes haunting in its poetry. Winner of the Truer than Fiction Award at the 2010 Independent Spirits. Four stars (3/27/10)
"Mother" (R, 128 minutes). A mentally-deficient 27-year-old seems almost certainly guilty of murder. His mother, who has protected him all his life, is determined to prove his innocence. She is a remorseless force of nature, in a South Korean thriller that moves far beyond our expectations, into labyrinths deeper than reality. Written and diffracted by Bong Joon-ho ("The Host"). Three and a half stars
"Chloe" (Unrated, 96 minutes). A woman doctor (Julianne Moore) suspects her husband (Liam Neeson) of cheating, and hires a young call girl (Amanda Seyfried) to test how he might respond. She is fascinated by the girl's reports. Her jealousy shifts into curiosity. And the call girl? What's in this for her? Egoyan weaves a deceptive erotic web. Three and a half stars
"Waking Sleeping Beauty" (PG, 86 minutes). A privileged inside look at the Disney animation studio from 1984 to 1994, a golden age that essentially recreated feature animation in the form we know it now. From "The Little Mermaid" to "The Lion King," interviews, archives, home movies and interviews recreate a time of creative turmoil and backstage rivalries. It was the best of times, it was the worst of times. Three and a half stars.
"The Girl with the Dragon Tattoo" (Unrated, for adults, 148 minutes). Compelling thriller with a heroine more fascinating than the story. She's Lisbeth (Noomi Rapace), a 24-year-old Goth girl with body piercings and tattoos: thin, small, fierce, damaged, a genius computer hacker. She teams up with a taciturn Swedish investigator to end a serial killer's 40 years of evil. Based on the international best-seller. Intense and involving. The planned Hollywood remake will probably have to be toned down. Four stars.
"Diary of a Wimpy Kid" (PG, 92 minutes). Nimble, bright and funny comedy about the hero's first year of middle school. Zachary Gordon stars as the uncertain newcomer, and Robert Capron is his pudgy best pal, who still acts like a kid. Chloe Grace Moretz sparkles as the only student who's nice to them, and the movie amusingly remembers the tortures of early adolescence. Based on the books by Jeff Kinney. Three and a half stars.
"The Green Zone" (R, 114 minutes) Matt Damon and his two-time "Bourne" director Paul Greengrass team up for a first-rate thriller set early in the war in Iraq. Damon's chief warrant officer finds that U.S. intelligence is worthless, and his complaints lead him to discover the secret conspiracy intended to justify the American invasion. Greg Kinnear is the deceptive U.S. intelligence puppet-master, Brendan Gleeson is a grizzled old CIA hand whose agency has always doubted the stories sabot Saddam's WMD, and Amy Ryan plays a newspaper reporter who served Kinnear as a pipeline. Four stars.
"A Prophet" (R, 154 minutes). An unformed young man is imprisoned, and behind bars he terrifyingly comes of age. A remorseless consideration of the birth of a killer. With Tahar Rahim as the clueless young prisoner and Niels Arestrup as the powerful boss of the gang controlling the prison. Swept the 2010 Cesar awards ("the French Oscars"), won the Grand Jury Prize at Cannes 2009, a 2010 Oscar nominee for best foreign film. Directed by Jacques Audiard. Four stars
"The Ghost Writer" (PG-13, 124 minutes). In Roman Polanski's thriller, a man without a past rattles around in the life of a man with too much of one. Ewan McGregor plays a ghost writer hired by a former British prime minister (Pierce Brosnan), whose previous ghost has mysterious drowned. In a rain-swept house on Martha's Vineyard, McGregor meets the PM's wife (Olivia Williams) and his assistant/mistress (Kim Cattrall), as an international controversy swirls. A splendidly acted and crafted immersive story. Four stars
"Red Riding Trilogy" (Unrated, for adults, 302 minutes). An immersive experience based on the infamous Yorkshire Ripper killings and the subsequent revelations about deep corruption in the Yorkshire Police Departments. Brilliantly cast, filmed in segments each offering a distinctive look and feel, beginning with a serial killer and then tangling the investigation with deep-seated local corruption. Not so much about what happens objectively as about its surrounding miasma of greed and evil. Four stars
"The Art of the Steal" (Unrated, 101 minutes). The most valuable collection of modern and impression art in the rod, valued at $250 billion, was intended by its rich collector, Dr. Albert C. Barnes, to reside forever in the Barnes Foundation in suburban Philadelphia. He hired the best lawyers to draw up an iron-clad will to assure that would happen after his death. He specified it not go to the Philadelphia Museum of Art, which he felt had scorned him and his collection. This absorbing documentary tells the story of how and why his art is in that museum today, the film calls it the "art theft of the century." Three and a half stars
"Shutter Island" (R, 135 minutes). Leonardo Di Caprio and Mark Ruffalo are U.S. Marshals called to a forbidding island in Boston bay, the home of an old Civil War fort now used as a prison for the criminally insane. A child murderer has escaped her cell. Martin Scorsese relentlessly blends music, visuals, special effects and all of film noir tradition into an elegant horror film as fragmented as a nightmare. If you're blind-sided by the ending, ask yourself: How should it have ended? How could it have? Three and a half stars
"Fish Tank" (Unrated, adults, 123 minutes). The harrowing portrait of a 15-year-old girl on a reckless path toward self-destruction. Her mother, only about 30, is a drunken slut and she seems on the same path. Covers a few days of fraught experiences with sex and anger. Superbly acted by newcomer Katie Jarvis. Winner of the Jury Prize at Cannes 2009. Directed by Andrea Arnold. Four stars.
View image Jennifer Jason Leigh and Jack Black in "Margot at the Wedding." No relation. Well, OK, Leigh is married to the writer-director, but that's not to invite speculation.
The logic that structures Dennis Lim's New York Times interview with Noah Baumbach ("The Squid and the Whale" (2005), "Margot at the Wedding") is circularly inspired: [In the film,] Margot, a fiction writer in the throes of a personal crisis, is at a bookstore appearance, which goes quickly awry when her interviewer presses her on the connections between her life and her work. He brings up a story of hers that concerns an abusive patriarch. She immediately begins to defend her father. He interrupts: What he meant to ask was whether she had based that monstrous figure on herself.
“I wrote that scene in response to the interviews I did when ‘Squid’ came out,” Mr. Baumbach said.... “I was having fun with what people assume when they think something is autobiographical.” [...]
“Someone would ask me if something was true, and I’d say no, and then they’d ask me a follow-up question under the assumption that it was true,” he said. “ [...]
“Margot is me at my worst, probably,” Mr. Baumbach said. “I try not to analyze the characters when I’m writing, but I’m very analytical in my life.” [...]
With Mr. Baumbach the conversation has a way of circling back to autobiography — or, more precisely, to the notion of a writer creating autobiographical work by feeding on family and friends for material. It’s a recurring motif in his films. [...]
“My hope is that I will make enough movies that they can’t all conceivably be autobiographical.” OK, let me take that for one more spin around the block. After seeing "Margot at the Wedding" in Toronto ("The Eastern Inbred Class"), I wanted to address this inbred motif in the reflexive manner of Baumbach's film: "If I were a character from the movie critiquing the movie, I would probably say something like: "Noah Baumbach must really detest his dreadful dysfunctional family.'" The people in this movie are types who either crib from their friends' and families' lives for their New Yorker short stories -- or who are mortified and infuriated that details from their lives are appearing in their friends' or families' New Yorker short stories. You may assume there's an "autobiographical" dimension to it...
Look at this woman. Do you hate her character yet?
Noah Baumbach's "Margot at the Wedding" is one of the scariest films ever. Because it plays like a hidden-camera home movie as psychological x-ray. And no one is spared its cold, uncompromising scrutiny. (Or think of it as a segment of TV's "To Catch a Predator" -- and, as on the NBC flytrap reality show, everybody is the predator.)
If I were a character from the movie critiquing the movie, I would probably say something like: "Noah Baumbach must really detest his dreadful dysfunctional family." Baumbach's follow-up to "The Squid and the Whale" (among my top films of 2005) is another dead-on portrait of monstrously self-absorbed Northeastern inbreeders who believe that being "authentic" or "honest" means they have to express every single critical judgment or self-indulgent emotion that occurs to them, especially if they can use it to belittle or undermine somebody else in their immediate circle. Usually, that includes throwing in a clinical diagnosis, as a way of damning and dismissing the subject, and getting the amateur diagnostician off the moral hook just a little. (If you claim to be observing a "condition," then neither you nor the object of the diagnosis can be held fully responsible.)
If I describe it as a horror movie -- torture porn about a long-obsolete class of super-self-conscious but utterly un-self-aware white East-Coast intellectual trash -- I trust that also conveys how bitterly, nastily funny the movie is. It's like a Neil LaBute picture co-written by Jules Feiffer. Scalpel-sharp. Merciless. Cruel. Uncompromisingly misanthropic. And really getting off on being so.
I don't think I've ever felt such contempt toward characters in a movie before. Perhaps it's Strindbergian. The TIFF catalog compares the movie to Bergman and Woody Allen's Bergman exercise, "Interiors," and even Eric Rohmer. (Rohmer without pity. Or affection, I guess.) I thought it was more like "The Devil's Rejects," if the members of the Firefly family fed upon one another. And it's funny.
The people in this movie are types who either crib from their friends' and families' lives for their New Yorker short stories -- or who are mortified and infuriated that details from their lives are appearing in their friends' or families' New Yorker short stories. You may assume there's an "autobiographical" dimension to it not only because one of the movies subjects is the way writers autopsy and cannibalize the people in their lives for their fiction, but also because each and every knife-twisting line is so toxic and cutting, so astonishingly self-serving, that you figure somebody just had to have actually said it, or thought it, or attributed it to somebody else in a snarky piece of gossip disguised as a revealing psychological insight disguised as an expression of sincere concern. In other words, the way these people talk and behave seems too awful not to be true.
"Well," says one published author in the film, "we all take from life." The difference is that, by this point in the movie, I assume her work is probably terrible, simultaneously pitiless and self-pitying, relentlessly "honest" and utter bullshit. (See the character of Briony in "Atonement.") Baumbach himself, however, is an exceptionally keen writer and observer of the stifling Upper-East-class milieu in which he was raised. (Both his parents are writers and -- ouch -- film critics.) Which doesn't mean his movie has anything to do with them. But one littérateur in the film observes that the character of the father in another's story is loathsome but strangely sympathetic. You could say the same thing about nearly any character in "Margot at the Wedding." Just leave out the "sympathetic." In fact, just about anything you can say about this movie has already been addressed (and ridiculed) in this movie.
Here's the basic set-up: Margot (Nicole Kidman) and her androgynously doughy offspring, appropriately named Claude (or "Clawd" or "Clod," as in formless lump of dirt, played to excruciating perfection by Zane Pais) go to visit Margot's estranged sister Pauline (Jennifer Jason-Leigh) in the old family house on the beach where they were raised. Pauline is about to get married to Malcolm (Jack Black), another shapeless wad of humanity who sports an ironic mustache that's "supposed to be funny." Next door are some vile neighbors living in a shack with the Kid From "Deliverance," who are probably killing and eating whatever creatures (including wild animals, domesticated dogs and human babies) they can hunt. They're like the family from "The Texas Chainsaw Massacre" (Tobe Hooper's), but they seem a little more human(e) than the main characters in the big house.
Everybody is so busy trying to avoid appearing hypocritical that there's not a genuine, straightforward emotional interaction in the film, just bubbles of self-absorbtion bumping into one another. These are extremely isolated, ultra-privileged people who would prefer to feel guilty about their privilege than grateful, because guilt intensifies their drama and their suffering and their sense of their own significance. Which, in the end, makes them feel a little better about themselves.
Oh, and there's the most cynically self-conscious use of a dog in the history of motion pictures. Baumbach knows exactly what he's doing, and it works.
If I'm making the film sound detestable, maybe that's the best way I know of to express my admiration for it, and the way it keeps relentlessly covering the same ground (the characters' linty psychic navels) while still managing to top itself, scene after scene. You'd think there's be almost no place to go after a mother -- quietly, with a vicious mixture of "concern" and disappointment -- tells her teenage son that he's "changed" and no longer has the grace she says she once treasured, and then adds as an afterthought, "But you're still handsome!" And yet, there is. The scene I just mentioned made me gasp and then laugh in astonishment. Unfortunately, through most of the movie, nobody around me was laughing much. To them, it maybe seemed more like Eugene O'Neill, I don't know.
Every performance in the film is terrifyingly good/awful. (That is, the actors hit every off-note just right, and the characters -- in case I haven't made this clear -- are mortifying.) I think there's some kind of excoriating analytical and observational genius in this home-horror-movie about cretinous, semi-articulate dunces. But when it was over (climaxing in an astonishing moment of self-dramatization and self-absorbtion), the same thought popped into my head that did at the end of Todd Solondz's outlandishly scornful "Palindromes": Who's going to want to expose themselves to this gory dissection of these coldblooded creeps? Makes you want to see a good George Romero zombie movie. At least the Living Dead have real, uncalculated emotions.
P.S. I just went back and re-read Roger Ebert's review of Rob Zombie's "The Devil's Rejects." For me, the comparison works perfectly: Here is a gaudy vomitorium of a movie, violent, nauseating.... If you are a hardened horror movie fan capable of appreciating skill and wit in the service of the deliberately disgusting, [this film] may exercise a certain strange charm. If on the other hand you close your eyes if a scene gets icky, here is a movie to see with blinders on, because it starts at icky and descends relentlessly through depraved and nauseating to the embrace of road kill.
View image There are movies being shown in six or eight theaters in the building on the left. That's all I know. (photo by Jim Emerson)
Film festivals allow you the opportunity to see movies without knowing much of anything about them in advance. If you don't want to, that is. The problem with this is that, unless you have a festival catolog (the hefty TIFF 2007 one is 480 pages and sells for $37), you also have no idea of what you don't know about. Today, I arrived more than a half-hour early for a screening of Todd Haynes' "I'm Not There," only to discover that the previous film (something about "Cassandra") was running about 45 minutes late. The Toronto festival is quite punctual, so this was a most unusual occurrence. The staff person allowed some of us into the theater to sit through the end of the previous movie, in which case we would be able to retain our seats for the one we'd actually come to see.
Now, normally I'm like Woody Allen in "Annie Hall" and I don't go into movies late. I rarely leave early, either, even if I think the movie's terrible. In this case, I thought I'd just go in and rest my eyes, since I knew nothing about the film I was about walk into the middle of. It soon became apparent that it had Ewan McGregor and Colin Farrell in it, as two brothers who were involved in some kind of murder scheme. It was thoroughly mediocre, and I wondered how some first-time commercial filmmaker had lured such a cast, especially with this lackluster script. (Tom Wilkinson showed up, too.) But, I was also seeing it from the middle, sometimes with eyes wide shut, because I was only there to have a seat for the next movie.
When it ended (badly), the credits appeared and I immediately recognized the typeface. It was Woody Allen's latest movie. Surprise.
I write this not to report on a movie I only saw the last half of, but because as I was sitting there I was thinking about how little I have known -- quite deliberately -- about the films I have seen before I have gone to see them. (Of course, I hadn't intended to see even part of this one. That was just an accident.) For the most part I'm trying to maintain blissful ignorance, going into these films with no preconceptions except that I may know who the director is, or who one or two of the cast members are. Or somebody I trust has recommended it. That's as much as I want to know.
Some people at the press and industry screenings seem to know everything about them before the lights go down, but I don't listen to them. So here, in the interest of full disclosure, is how much I knew about some of this year's TIFF movies going in (including a few I haven't yet seen):
"Eastern Promises": David Cronenberg movie with Viggo Mortensen. Not a clue as to what it was about, who else was in it, what it was based on (if anything), or what the title meant.
"Michael Clayton": George Clooney wearing a suit and tie. Nothing else.
"4 months, 3 weeks, 2 days": Romanian film about an abortion that won at Cannes.
"Chop Shop": Second film by Ramin Bahrani ("Man Push Cart"). Unaware of where it was set or what it was about, except I thought there was a kid in it.
"Redacted": Brian De Palma. Something about Iraq.
"Secret Sunshine": Asian film (I don't even know what country) that won an award for something somewhere (I think it was Cannes). A friend said I should see it.
"The Orphanage": Mexican. Produced by Guillermo Del Toro. Appeared to be kinda creepy, and somebody had compared it to "Pan's Labyrinth."
"Margot at the Wedding": Written and directed by Noah Baumbach ("The Squid and the Whale"). Nicole Kidman, Jack Black, and Jennifer Jason-Leigh. That's all.
"Persepolis": Black and white. Animated. No idea of language or subject.
"Atonement": Based on Ian McEwan novel I haven't finished (but have at home). Don't know who directed it or who's in the cast.
"The Man From London": Directed by Bela Tarr.
"I'm Not There": Todd Haynes' movie in which several people play Bob Dylan. I knew Cate Blanchett was one of them.
"No Country for Old Men": A Coen brothers movie, based on Cormac McCarthy's book (which I'd read). Tommy Lee Jones and Javier Bardem were in it. Roger really liked it.
"Into the Wild": Sean Penn-directed adaptation of Jon Krakauer's biography of Christopher McCandless, which I read about ten years ago and really liked. I knew Emile Hirsch was the main character, but I couldn't recall any movies I'd seen Emile Hirsch in before.
(Once again, my brain is so full of movies I want to write about that I can't concentrate on any one long enough to finish writing about it. I've got about four posts partly written. Hope I'll get a chance to within the next 24 hours. In the meantime, there are more movies to see...)
View image Is the "a-word" still mentionable?
In A.O. Scott's review of "Knocked Up" in the New York Times, he expressed admiration for "a funny, knowing riff on the reluctance of movies and television shows even to use the word 'abortion.'" I thought that was one of the most brilliant bits in the movie, and not just because it emphasized the entertainment industry's squeamishness about the "a-word," but because it also captured men's unwillingness to interfere with (or face up to) "a woman's right to choose," and the way abortion has been swept under the carpet by the new right-wing Political Correctness. No longer is abortion considered a difficult and regrettable personal choice; the new PC has restored the shame and guilt from the old Scarlet Letter days of back alleys and coat hangers. That's one of the things I think "Knocked Up" was satirizing: Don't mention abortion! (The Bush administration cuts funding to any family planning counseling facility, in Africa and elsewhere, that acknowledges abortion as an option for women.)
In the Genuine Canadian Magazine (says so right on the cover) cinema scope, Associate Editor Jessica Winter offers this take: As funny and endearing as Judd Apatow’s proudly vulgar new comedy can be, it may give the viewer nostalgia for the sequence in "Fast Times at Ridgemont High" (1982) when Jennifer Jason Leigh falls pregnant by a guy she shouldn’t be with, promptly gets an abortion, and rides back from the clinic with her brother, who takes her out for a cheeseburger. And that’s it: no apparent self-torment, no post-facto breakdown, no further discussion. Twenty-five years later—plus a nationwide swing to the right, the founding of Operation Rescue, and that deathless Ben Folds Five song—"Knocked Up" presents us with a similarly unpromising scenario: smart twentysomething who just got a big career break has inadvertently fruitful one-night stand with unemployed shlub. Yet in this case, abortion is only briefly suggested by third parties and dismissed out of hand. That’s not to say that the outcome is unrealistic: When Allison (Katherine Heigl) bursts into tears at the sight of the heartbeat on the sonogram, it’s obvious that ending the pregnancy simply isn’t an option for her—just as bearing a child simply isn’t an option for Leigh’s teenage character in "Fast Times." Still, when the closest a movie like Knocked Up comes to even saying the word is “rhymes with shmashmortion,” it’s clear that we’re considering less a depiction of life as actual people live it but rather a pop-culture product that embodies the squeamish contradictions of the mainstream moment a little too accurately. This is a movie, after all, in which Allison always has sex with her bra on but we get an extreme close-up of the baby’s head inching through Mom’s conspicuously bald vagina. Who knew the miracle of childbirth could be liberated from the dark shame of pubic hair?Winter says that we can "blame the MPAA" for the missing pubic hair.
How will the movies handle -- or avoid mentioning -- abortion once the Supreme Court overturns Roe v. Wade, I wonder?
PARK CITY, Utah--Ira Sachs' "Forty Shades of Blue," the story of a marriage that does not work and never could have, won the Grand Jury Prize here Saturday night, as best feature film at Sundance 2005. Eugene Jarecki's "Why We Fight," a film about an America moving toward a state of continuous war, was named best documentary. Jarecki's brother Andrew won the same category in 2003 with "Capturing The Friedmans."
TORONTO -- I went to be interviewed for Stuart Samuels' new documentary, "Midnight Movies," and it started me thinking. His film will be about the transgressive movies that started appearing in the 1970s -- titles like "Eraserhead," "El Topo" and "The Rocky Horror Picture Show." He wanted to know who went to see them, and why, and what it all meant, and his questions started me thinking.
CANNES, France--"Shoot the distributors." That was Alan Cumming's helpful suggestion as eight American directors debated the sorry sight of independent film distribution here Wednesday, at the annual American Directors Panel at the Variety Pavilion. The big studios monopolize thousands of multiplex screens with movies aimed at teenage boys, and more inventive films for adults get shoved aside.
CANNES, France--The best film at Cannes so far this year was made in 1979. That's the melancholy conclusion of Variety and the Hollywood Reporter, the daily trade journals printed at the festival and I didn't have to read the papers to figure that out.
CANNES, France-- Forty-one years after his "Breathless" swept in the French New Wave and helped herald the modern era of filmmaking, Jean-Luc Godard is back at the Cannes Film Festival with a new movie. The onetime enfant terrible is now 71, and the 1960s "film generation" that marched under his banner is old and gray, but his very presence inspires a certain trembling in the air as the 54th Cannes festival opens. The giants are back in town.
Q. I walked out of "Dancer In The Dark" last night, not because it was awful (I found it compelling and difficult) but because my wife had fled the theater ten minutes before (during the scene in which Selma and Bill struggle over her money), unable to bear the suffering any more. My initial response was to stay and watch this troubling, fascinating film to the end, but I realized that I was more worried about my wife than I was about the characters. So I left, silently apologizing to Bjork and Lars Von Trier. 1. Did I do the right thing? 2. Does this mean she gets to pick the next movie, even if it's directed by Nora Ephron and features a talking cat? (Colin Meeder, Frankfurt, Germany)
TORONTO -- Joe Eszterhas hasn't become history's highest-paid screenwriter by penning quirky little stories about coming of age in Cleveland - but one of the big hits of the Toronto Film Festival's closing weekend is just such a film.
TORONTO -- "I was trying to think what the summer movie season was like," David Mamet said, "and I realized it was like the state fair."
TORONTO -- Hooray, hooray, the first of September! Back at last to films to remember!
CANNES, France -- The table has long since been cleared for the last time, and the wits who surrounded it rest in their graves, but the idea of the Algonquin Round Table lives on. For a decade, from the 1920s through the 1930s, the brightest and the funniest writers in New York gathered every day for lunch around a huge round table at the Algonquin Hotel, and then they went back to their typewriters and made each other famous by quoting what they said there.
CANNES, France -- The table has long since been cleared for the last time, and the wits who surrounded it rest in their graves, but the idea of the Algonquin Round Table lives on. For a decade, from the 1920s through the 1930s, the brightest and the funniest writers in New York gathered every day for lunch around a huge round table at the Algonquin Hotel, and then they went back to their typewriters and made each other famous by quoting what they said there.
TELLURIDE, Colo. She has the face of an angel, and she plays roles from hell: That describes the acting career of Jennifer Jason Leigh, who was honored in a tribute here at the Telluride Film Festival.
TELLURIDE, Colo. -- The moment that best captured this year's Telluride Film Festival came when three musicians from Cambridge, Mass., were creating a percussion thunderstorm during a silent film from Germany, while a real thunderstorm boomed outside.
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