Inside Llewyn Davis
"Inside Llewyn Davis" is the most satisfyingly diabolical cinematic structure that the Coens have ever contrived, and that's just one reason that I suspect it…
* 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.
Michał Oleszczyk talks with director James Gray about "The Immigrant."
Marie writes: Behold the amazing Art of Greg Brotherton and the sculptures he builds from found and re-purposed objects - while clearly channeling his inner Tim Burton. (Click to enlarge.)
"With a consuming drive to build things that often escalate in complexity as they take shape, Greg's work is compulsive. Working with hammer-formed steel and re-purposed objects, his themes tend to be mythological in nature, revealed through a dystopian view of pop culture." - Official website
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...
Ben Affleck's "The Town" (2010) is an impressive effort from a third time director whose acting choices almost derailed his Hollywood career. With the clear exception of "Changing Lanes" (2002), this film is better than everything he ever did before and the reason is simple: instead of choosing to be involved in another blockbuster wannnabe, Affleck wrote, directed and starred in this heartfelt project about a fascinating borough that he seems familiar with. It is also a work of numerous, obvious inspirations, raising the question of whether said fact makes it any less worthy.
Marie writes: I may have been born in Canada, but I grew-up watching Sesame Street and Big Bird, too. Together, they encouraged me to learn new things; and why now I can partly explain string theory.That being the case, I was extremely displeased to hear that were it up Romney, as President he wouldn't continue to support PBS. And because I'm not American and can't vote in their elections, I did the only thing I could: I immediately reached for Photoshop....
(Click image to enlarge.)
Marie writes: Intrepid club member Sandy Kahn came upon the following recipe and wisely showed it to me, so that I might share it in turn with all of you. Behold the morning chocolate cookie - a healthy breakfast treat loaded with good stuff; like fiber and imported French chocolate.
Marie writes: Not everything is what is seems...(Click images to enlarge.)
"Return" (97 minutes) is available Feb. 28 via most major on-demand platforms including cable, satellite, iTunes and Amazon Instant.
When the most intense experiences of daily life are repeated across generations, they become the historical touchstones of our cultural identity. By natural progression they're woven into our movies, where dreams and nightmares are etched in light.
The returning soldier (a subject previously examined here in the HBO documentary "How to Fold a Flag" and the 1956 Paul Newman drama "The Rack") has been a mainstay in film since the earliest days of the silent era. When you consider upcoming changes in the ranks of the American military, more and more of those soldiers are now likely to be female. And since independent film is where social progress typically finds its earliest, least compromised expression, we're now seeing more richly observant films like "Return," a sensitively rendered drama that marks a promising debut for writer-director Liza Johnson, in rewarding collaboration with underrated actress Linda Cardellini.
Cardellini won hearts with her appealing role on the beloved, short-lived TV series "Freaks and Geeks" (1999-2000) and deepened her range over 126 episodes of "ER" (2003-09). She's perfectly cast here as Kelli, a National Guard reservist and married mother of two. Still young but spiritually exhausted, she's just returned home after what she later suggests was a routine deployment in the Middle East. Iraq or Afghanistan -- it doesn't matter which, and the movie never specifies. Either way, there's no such thing as a routine deployment, and Kelli returns to her previous life in struggling, small-town Ohio, adrift in a state of neurasthenic limbo. War changes you, even if Kelli claims that "other people had it a lot worse." Kelli may be suffering from some degree of PTSD, but she's getting no apparent help from military counselors.
Marie writes: my art pal Siri Arnet sent me following - and holy cow! "Japanese artist Takanori Aiba has taken bonsai trees, food packaging, and even a tiny statue of the Michelin Man and constructed miniature metropolises around these objects, thus creating real-life Bottled Cities of Kandor. Explains Aiba of his artwork:"My source of creations are my early experience of bonsai making and maze illustration. These works make use of an aerial perspective, which like the diagram for a maze shows the whole from above (the macro view) while including minute details (the micro view). If you explore any small part of my works, you find amazing stories and some unique characters." ( click to enlarge.)
"Kill List" is available on demand through select cable providers. Check IFC On Demand for availability in your area.
by Kevin B. Lee
Few things bring out the worst tendencies of Hollywood than the genre mash-up, as evidenced by two of last year's worst films, "Cowboys vs. Aliens" and "Battle: Los Angeles" (aka "Independence Day" filmed as part Iraq War documentary, part video game). The "movie-x-meets-movie-y" mentality seems to inspire little more than z-level creativity in the land of big budgets and small minds. And yet, somehow the British have a better track record at bringing together disparate elements into a compelling whole. One of the best British crime movies, "The Lavender Hill Mob," is also one of their best comedies. Their most famous horror movie, "The Wicker Man," is actually a trifecta of horror, crime thriller and musical. And now there's Ben Wheatley's "Kill List," which takes seemingly familiar genre elements and offsets them in ways that can be confounding, but leave an unforgettable impact. And by impact, I'm not just talking about a scene involving a tied-up librarian and a hammer.
Before we delve into that moment, some set-up: Jay (Neil Maskell) and Shel (MyAnna Buring) are an ex-military couple trying to play house in the Yorkshire suburbs. Judging by their opening screaming match they're having a rough go of it: Jay's been out of work for eight months, their savings drying up. All they can do to vent their frustrations is hold swordfights on the lawn with their son and host a rollercoaster of a dinner party with Jay's war buddy-turned-hitman Gal (Michael Smiley), leading to smashed dishes in the dining room, plans for new contract killings discussed over beers in the basement, and Gal's mysterious date carving a hex into the back of the bathroom mirror.
Marie writes: It occurred to me that I've never actually told members about the Old Vic Tunnels. Instead, I've shared news of various exhibits held inside them, like the recent Minotaur. So I'm going to fix that and take you on a tour! (click image to enlarge.)
"I realize that most of the turning points in my career were brought about by others. My life has largely happened to me without any conscious plan. I was an indifferent student except at subjects that interested me, and those I followed beyond the classroom, stealing time from others I should have been studying. I was no good at math beyond algebra. I flunked French four times in college. I had no patience for memorization, but I could easily remember words I responded to. In college a chart of my grades resembled a mountain range. My first real newspaper job came when my best friend's father hired me to cover high school sports for the local daily. In college a friend told me I must join him in publishing an alternative weekly and then left it in my hands. That led to the Daily Illini, and that in turn led to the Chicago Sun-Times, where I have worked ever since 1966. I became the movie critic six months later through no premeditation, when the job was offered to me out of a clear blue sky."Visit "I was born inside the movie of my life" to read the opening pages from Roger's forthcoming memoir to be published September 13, 2011.
Marie writes: Gone fishing...aka: in the past 48 hrs, Movable Type was down so I couldn't work, my friend Siri came over with belated birthday presents, and I built a custom mesh screen for my kitchen window in advance of expected hot weather. So this week's Newsletter is a bit lighter than usual.
The 83rd Annual Academy Award nominations were announced Tuesday at the Academy of Motion Picture Arts and Sciences in Beverly Hills, Calif.
The 2011 Oscar race seems to be shaping up among the King of England, two nerds, and Rooster Cogburn. "The King's Speech," about George VI's struggle to overcome a stammer, led all nominations with 12. The nerds won eight nominations each for "The Social Network," the story of the founder of Facebook, and "Inception," about a man who hacks into other people's dreams. "The Fighter" followed with seven.
Above: Best supporting actress winner Olivia Williams, "The Ghost Writer."
"The Social Network" has swept the major critics' groups honors (following NY and LA) with its best picture award from the National Society of Film Critics. From the NSFC website:
The Society, which is made up of 61 of the country's most prominent movie critics, held its 45th annual awards voting meeting at Sardi's Restaurant in New York City. 46 members voted. Scrolls will be sent to the winners.
BEST PICTURE *1. The Social Network 61 2. Carlos 28 3. Winter's Bone 18
BEST DIRECTOR *1. David Fincher 66 - The Social Network 2. Olivier Assayas 36 - Carlos 3. Roman Polanski 29 - The Ghost Writer
BEST ACTOR *1. Jesse Eisenberg 30 - The Social Network 2. Colin Firth 29 - The King's Speech 2. Edgar Ramirez 29 - Carlos
BEST ACTRESS *1. Giovanna Mezzogiorno 33 - Vincere 2. Annette Bening 28 - The Kids Are All Right 3. Lesley Manville 27 - Another Year
"Twists of fate, love and humour, perseverance and, finally, a philosophical outlook- his story has it all." - Sarah Hampson.(click photo to enlarge) From the Globe and Mail article "You couldn't write this script" published July 19, 2010.From the Grand Poobah: "A young lady with excellent taste". (click to enlarge) "Ever since I was a child messing around with a terrible paint set from K-mart, I have been obsessed with controlling pigment suspended in water. Now I paint with divine, hand-made watercolors from Holland along with brushes ranging from high-end to dirt cheap, but the obsession remains..." - from Kelly Eddington's artist statement. To read more and see her truly wonderful watercolors, visit Kelly Eddington's Website and Gallery.
Ah, watercolors.... so easy to master; only takes decades....
I'm not particularly fond of the snatch-and-grab, shaky-cam style Kathryn Bigelow employs in "The Hurt Locker" -- or those fusillades of twitchy, punch-in and recoil zooms, either -- but I got past it pretty quickly. Unlike many other films in this style, "Hurt Locker" is guided by a steady hand and a solid intelligence. As Kathleen Murphy writes at MSN Movies:
... few recent films have been as consciously and masterfully directed, in real time and space, as "The Hurt Locker." Script, sound, cinematography -- every aspect of this movie serves clarity and coherence, forcing us to feel, in all of our senses, the awful vulnerability of flesh and blood, and the randomness of its destruction. Calling to mind tough art like Hemingway's "The Sun Also Rises" and Picasso's "Guernica," "Locker" is not a pretty picture.
Bigelow delivers three-dimensionality the hard way: She moves and cuts her camera through a complex arena of wartime action as precisely as a sculptor's tool, exposing multiple forms of visceral fear and sudden death. Every inch of her dusty, sun-scorched Iraqi streets is wired to deliver nonstop tension; the human software threatened by instant dissolution in these badlands can't anticipate, post-blast, blithely slipping into a brand-new suit of flesh.
Click here to enter the Outguess Ebert contest and mark your picks for the Oscar winners.
I am a dreamer, a traveler, a student, a teacher, a friend, a stranger, an Asian, a Canadian, a daughter, a woman, a photographer, a model, an immigrant, a citizen, a writer...but these are all just labels, and they wouldn't begin to tell you why I have an infinite love for hole-in-the-wall bars and coffee shops and black & white everything, or why live music of any kind just captivates me, or how Chinese novels move me in a way so deep that I wish every person in the world could understand the language, or why I can never ever hold back a smile watching the sun rise on a different continent.
Traveling is a huge part of my life, as is writing. With a pen and a backpack, I've had some of the most memorable moments of my life at some of the most random corners around the world.
If traveling is how one experiences reality, then writing is how I weave my dreams. It has always been the most natural, intimate, and truest expression of myself. And we all just want to tell our own stories in this lifetime, don't we?
It's like breathing, and as clichéd as that sounds, how can you explain why you need to breathe?
Traditionally (or, perhaps a better word is "statistically"), in order for film to win the Best Picture, it has to also receive director, screenplay, editing and acting nominations. Of the ten BP nominees this year, only "The Hurt Locker," "Inglourious Basterds" and "Precious Based on the Novel Push by Sapphire" were nominated in all the winning categories.
Sure, there have been exceptions. James Cameron's "Titanic" screenplay didn't get nominated, either. And remember the stink when "Driving Miss Daisy" won Best Picture without even a nomination for its director, Bruce Beresford?
Sun-Times Gallery of Top Oscar Categories
Sun-Times Gallery of Top Oscar Categories
The Academy Award nominations will be announced bright and early on Tuesday, and in some categories they’ll be almost a formality. Four of the inevitable nominees in the acting categories seem to be shoo-ins for Oscars.
NEW YORK (AP) - The National Society of Film Critics on Sunday selected "The Hurt Locker," a film about an elite Army bomb squad unit that works in Iraq to defuse improvised explosives while under the threat of insurgents, as the best picture of 2009.