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.
Does her smile light up a room, or what?
Joey Lauren Adams Remembers Joey Lauren Adams Movies from Joey Lauren Adams
Q. A blogger named Brian at takes issue with your remarks about Paul Greengrass' long takes in "The Bourne Ultimatum," writing: "I don't recall a single take in this movie that was more than about three seconds long. Either Greengrass really does a spectacular job of not 'calling attention' to those long takes, or Ebert saw a different movie. But it's very strange, no matter what." (From goneelsewhere.wordpress.com:) Who's right?
I don't usually do this (and have no intention of making a habit of it), but I wanted to share a couple of appreciations of Roger Ebert, on the occasion of his first public appearance (at his Overlooked Film Festival, aka Ebertfest) since complications from surgery last July. I know Roger doesn't want me to turn this or RogerEbert.com into a big bouquet of flowers for him -- but let's just take a moment to celebrate his return to public life (and more reviewing!). Over the last ten months or so, many have written, in public and private, about what Roger and his writing have meant to them, and two recent notes struck me as especially eloquent.
The first is from Ted Pigeon, whose blog The Cinematic Art is a favorite of mine. (Check out his piece about critics and blockbusters, too.) Ted begins by observing: Like so many young film lovers, I first discovered my love of film criticism through Roger's engaging and intelligent movie reviews. His work showed me that film criticism is important, that it can be the source of great feeling and knowledge of cinema, and that criticism is essential to the advancement of cinema as an art form. It is a necesary companion to the experience of watching films for those who care deeply about films.The other piece was e-mailed to me by Peter Noble-Kuchera of Bloomington, Indiana, who recently attended Ebertfest. With Peter's permission, I'm publishing his entire article after the jump. This paragraph really resonated with me:To know Ebert by his TV show is not to know him at all. You have to read him. He was the first film critic to be awarded the Pulitzer Prize, and one of only three ever to have been so acknowledged. He is the only American critic to review virtually every film in major release. His essays, while without the crabby flashiness of Pauline Kael’s, are marked by the groundedness of a Midwesterner, exacting writing, deep insights, and more than that, deep compassion. More than any critic, Ebert seems to understand that the movies are made by people who, with all their flaws, were trying to make a good film. He is a tireless champion of small movies of worth, and no critic has done more to leverage his influence in order to bring those films to the attention of America.As I've said many times before, it wasn't until I started reading (hundreds, thousands) of Roger's reviews when I was the editor of the Microsoft Cinemania CD-ROM movie encyclopedia in the mid-1990s that I came to appreciate what terrific critic and writer the man really is. I feel more strongly than ever about that after three and a half years as the founding editor of RogerEbert.com. He's so very much more than the sum of this thumbs.
The rest of Peter's report (lightly edited) below...
View image David Bordwell (who needs no introduction to readers of Scanners), Michael Barker of Sony Pictures Classics, and Werner Herzog discuss Herzog's "Stroszek."
"Stupidity is the devil. Look in the eye of a chicken and you'll know. It's the most horrifying, cannibalistic, and nightmarish creature in this world." -- Werner Herzog
I could listen to Werner Herzog talk all night. And I have. (See this transcript from Ebertfest 2005, for example.) Watching the marvelous "Stroszek" (I think of it as Herzog's Fassbinder movie), with Werner, as everyone calls him, seated in the audience two rows behind me, the famous dancing chicken at the end reminded of the quote above. ("Stroszek" has one of the great final lines in movies: "We have a 10-80 out here, a truck on fire, we have a man on the lift. We are unable to find the switch to turn the lift off and we can't stop the dancing chicken. Send an electrician. We're standing by..." Those of us who are not waiting for Godot are indeed waiting for the electrician, or someone like him...)
View image The vibe you get from this picture perfectly captures what Ebertfest feels like. Here, David Bordwell shows off his midnight-hour chocolate-banana shake at the Steak 'n Shake (yes, there's only one apostrophe in that). Somehow, when he began drinking it, he got the banana and the chocolate to stay separate on either side of the plastic straw, too. These are the things that make life worth living. (You see, the chocolate represents the movies and the banana represents the people and Roger is the glass and Chaz is the whipped cream and cherry on top and...)
Later I asked Herzog if he had changed his mind about chickens, dancing or otherwise. "I only like eating them," he said. In response, I naturally quoted a great exchange from "Chinatown":
Noah Cross (John Huston), peering at a fish on J.J. Gittes's plate: I hope you don't mind. I believe they should be served with the head.
J..J. Gittes (Jack Nicholson): As long as you don't serve the chicken that way.
View image Writer Anna Thomas ("El Norte") interviews Prof. Samba Gadjigo (director of "The Making of Moolade"), actress Fatoumata Coulibaly, and actress/activist Marcia McBroom-Small ("Beyond the Valley of the Dolls") for "Moolade."
I also asked Herzog if he'd seen Michael Winterbottom's fantastic bio-comedy about the Manchester music scene, "24 Hour Party People" (perhaps second only to "The Three Burials of Melquiades Estrada" among my favorite films of the new millennium -- and the one I've enjoyed re-watching the most), in which the lead singer of Joy Division commits suicide with the last scene of "Stroszek" playing on television in the background. Herzog said he'd heard about it, but hadn't seen the movie. Well, he has something to look forward to.
View image Filmmaker Eric Byler ("charlotte sometimes") and actor Scott Wilson ("Come Early Morning") -- both Eberfest vets.
If you'd like to listen to part of the discussion between Herzog, David Bordwell and Michael Barker (a low-fi MP3 recording made on my Treo 680 -- have I mentioned how much I love my Treo 680, the life-changing "TiVo" of handheld gadgets?), click here.
It was remarkable to see how the Angry Young Herzog I remember from the '70s and '80s (in Seattle and especially Telluride) has evolved into such a congenial elder statesman. As his friend Paul Cox (who cast Herzog to play the father in "Man of Flowers," a film he described as being about "male loneliness") lamented technology (Cox is irrationally terrified of computers and cell phones), and proclaimed the imminent end of mankind's time on Earth, Herzog was more genial and philosophical. Yes, he said, it may be our turn to become extinct, like many species before us, but that's no reason to be "gloomy" in the time we have left: "Let's keep making films and treasuring friendships and drinking beers."
(When Cox, who spoke of women almost as if they were another species -- claiming they were "closer to the soil" in a way that made them sound almost bovine -- said that he couldn't think of any films about "female loneliness," Kristin Thompson came up with three masterpieces off the top of her head: Krzysztof Kieslowski's "Three Colors: Blue," Chantal Akerman's "Jeanne Dielman," and Carl Theodor Dreyer's "Gertrud.")
OK, now a few more pictures from Ebertfest 2007, after the jump...
Supergroup: The Carrie Nations jam with the Strawberry Alarm Clock in "Beyond the Valley of the Dolls." The latter band will also perform at Ebertfest '07, after a screening of the film.
Set your Strawberry Alarm Clocks: The annual spring ritual of Roger Ebert's Film Festival in Urbana-Champaign (now in its ninth year) runs April 24 -29, 2007, at the gorgeous old Virginia Theatre. The name of the fest has always been rather flexible: "Roger Ebert's Overlooked Film Festival," "The Overlooked" (sounding like something from "The Shining"), "Ebertfest"... Next year, the event will been officially re-named: Ebertfest -- the Roger Ebert Film Festival.
The tradition of appreciating "overlooked" films (by any criteria Ebert chooses to apply) continues, however. The festival will climax with a closing-day screening of Russ Meyer's "Beyond the Valley of the Dolls" (screenplay by Ebert himself) and a live performance by the Strawberry Alarm Clock, the psychedelic rock band featured in the film (and in Jack Nicholson's 1968 "Psych-Out," as well).
Roger Ebert will be there, introducing the festival and watching the films with the audience, but because he's still recuperating from surgery, will rely on an "expert group of colleagues" to conduct the on-stage interviews this year.
Other guests of the fest will include Werner Herzog (appearing with "Stroszek," Paul Cox (director of "Man of Flowers"), actress Fatoumata Coulibaly ("Moolaade"), writer-director Joey Lauren Adams and festival favorite, actor Scott Wilson ("Come Early Morning"), director Andrew Davis ("Holes"), film scholars David Bordwell, Kristin Thompson and Samba Gadjido, musician Jim White, producer/distributor Michael Barker (Sony Classics), and plenty more.
The 13 films featured in this year's Ebertfest are listed below, with titles linking to Ebert's original reviews of the films, where applicable. Other blurbs come from the festival's official web site, where the complete schedule and details can be found: www.ebertfest.com.
Continue reading at RogerEbert.com
April 25 - 29
PARK CITY, Utah – Most of Ashley Judd ‘s biggest hits have been thrillers, but most of her very best work has been in closeup character studies. That was true of her first film, “Ruby in Paradise,” and it’s true again of “Come Early Morning,” the story of a small-town woman whose pattern is to get drunk, sleep with a guy she picks up in a bar, and make a quick getaway the next morning.
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