A fairly familiar critique of patriarchy from a humanist and feminist perspective, but one that’s put across with some very impressive filmmaking skills by a…
* 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 the films playing at the 2016 Telluride Film Festival.
A look at "The In-Laws" in light of its Criterion Blu-ray release this month.
Aziz Ansari blasts Trump; Communal magic of Filmfront; Scorsese on "King of Comedy"; Brexit's impact on British film; Anthony Hemingway on "Underground."
Roger's Favorites: actress Faye Dunaway.
Sheila writes: An exciting bit of news from last week: Paramount has launched its own Youtube channel called The Paramount Vault, with hundreds of movies from their archives. streaming for free. So far, not too many classic films, but other than that, it's a goldmine. Check out The Paramount Vault Youtube channel. Here's the channel's fun sizzle reel.
An interview with the legendary Peter Bogdanovich.
A piece on the 1000-week run of "Dilwale Dulhania Le Jayenge."
An assembly of coverage on RogerEbert.com regarding Bennett Miller's "Foxcatcher."
An interview with Bennett Miller, director of "Foxcatcher," "Moneyball" and "Capote."
Pressure on female celebrities; Misogyny on "MasterChef"; Shut up Kevin Smith; Debunking myths of black education; Reflections on "The King of Comedy."
Jana Monji responds to our Movie Love Questionnaire.
Disney destroys "Into the Woods"; OK Go's "Writing on the Wall"; Film folklore in Iran; Video game by "Her" designer; Self-Styled Siren on "All That Heaven Allows."
Recent titles released on Blu-ray.
An epic essay on an epic comedy of the 1960s, now given deluxe treatment on Blu-ray and DVD by Criterion.
An interview with New Zealand stuntwoman Zoë Bell, best known for hanging on the hood of Kurt Russell's car in "Death Proof," now the star of her own action vehicle, "Raze"
Ten of the oddest baseball movies ever, just in time for the playoffs.
Scott Jordan Harris muses on the awful pleasures of the lowest-grossing film of 2012.
Distribution company Olive Films has released two obscurities by Jean-Luc Godard, 1976's "Comment Ca Va" and 1987's "Soigne ta Droite" (known in the U.S. as "Keep Your Right Up") and while these films may not have the immediate impact of his better-known works, they both reveal a filmmaker who has spent his career challenging himself, his viewers and the very medium of cinema itself in ways that are oftentimes fascinating and frustrating in equal measure.
Jerry Lewis returns to Cannes in a starring role in Daniel Noah's "Max Rose," which proves once again — as "The King of Comedy" did — that Lewis can deliver a nuanced serious performance.
I love Jerry Lewis. I love Jerry Lewis so much that I have a friend who, whenever I mention Lewis online, sends me the simple two word message "Rupert Pupkin". That, of course, is the name of Robert De Niro's deranged wannabe in Martin Scorcese's "The King of Comedy". Pupkin is so obsessed with Jerry Langford, the comedian played by Jerry Lewis, that he kidnaps him and takes his place on his talk show.
Marie writes: "let's see what happens if I tickle him with my stick..."(Photo by Daniel Botelho. Click image to enlarge.)
Some of the fiercest and most useful satire on the web right now is being written by a man who signs himself Smart Ass Cripple. Using his wheelchair as a podium, he ridicules government restrictions, cuts through hypocrisy, ignores the PC firewalls surrounding his disability, and is usually very funny. Because he has been disabled since birth, he uses that as a license to write things that others may think but do not dare say.
Or: Do comic-book movie blog posts display traffic superpowers?
New York Times film critics A.O. Scott and Manohla Dargis held a discussion of comic-book movies and that subset known as "superhero movies" in advance of the Marvel re-boot, "The Amazing Spider-Man," which opens Tuesday, July 3. (The article will appear in the paper July 1, but is now online.) This, I think, goes to the heart of the matter:
SCOTT:What the defensive [superhero] fans fail or refuse to grasp is that they have won the argument. Far from being an underdog genre defended by a scrappy band of cultural renegades, the superhero spectacle represents a staggering concentration of commercial, corporate power. The ideology supporting this power is a familiar kind of disingenuous populism. The studios are just giving the people what they want! Foolproof evidence can be found in the box office returns: a billion dollars! Who can argue with that? Nobody really does. Superhero movies are taken seriously, reviewed respectfully and enjoyed by plenty of Edmund Wilson types.
I've made some of these arguments many times before, but the one that really stands out for me here is the seriousness with which mainstream critics and intellectuals now approach comic books and comic-book movies. That's unprecedented. Distinctions between popular culture and high culture aren't nearly as rigid as they used to be. Movies that would once have been treated as nothing more than commercial entertainment products are now given serious consideration as artistic achievements. Because they can be both at the same time.