Pride and Prejudice and Zombies
The small, deadpan moments in "Pride and Prejudice and Zombies" have more of an impact than the massive, noisy set pieces.
* 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 recap and report from backstage at the 73rd Annual Golden Globes.
An article on the 2016 Golden Globe nominees.
A report on the Hollywood Foreign Press Association's August 13th, 2015 Grants Gala.
A report on the Hollywood Foreign Press Association's upcoming grants banquet on August 13th.
A review of Netflix's totally ridiculous but kind of amazing "Wet Hot American Summer: First Day of Camp."
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A preview of dozens of films being released this Summer.
A review of the final season premiere of AMC's "Mad Men".
An interview with Mick Sacks, author of "Poking a Dead Frog: Conversations with Today's Top Comedy Writers."
Picks for the best of the 2013-14 television season, in the form of a Dream Emmy ballot.
The final season of "Mad Men" begins with the familiar routines of its damaged characters but they have more tragic resonance than ever.
Marie writes: I've been watching a lot of old movies lately, dissatisfied in general with the poverty of imagination currently on display at local cinemas. As anyone can blow something up with CGI - it takes no skill whatsoever and imo, is the default mode of every hack working in Hollywood these days. Whereas making a funny political satire in the United States about a Russian submarine running aground on a sandbank near a small island town off the coast of New England in 1966 during the height of the Cold War - and having local townsfolk help them escape in the end via a convoy of small boats, thereby protecting them from US Navy planes until they're safely out to sea? Now that's creative and in a wonderfully subversive way....
Ben Kenigsberg reviews the new sci-fi reverie from the director of "Waltz with Bashir."
Marie writes: The unseen forces have spoken! The universe has filled a void obviously needing to be filled: there is now a font made entirely of cats. Called Neko Font (Japanese for "cat font") it's a web app that transforms text into a font comprised of cat pictures. All you need to do is write something in the text box, press "enter" on your keyboard and Neko Font instantly transforms the letters into kitties! Thanks go to intrepid club member Sandy Kahn for alerting the Ebert Club to this important advancement in typography. To learn more, read the article "There is now a font made entirely of cats" and to test it out yourself, go here: Neko Font. Meanwhile, behold what mankind can achieve when it has nothing better to do....
Here's my latest "Mad Men" video, inspired by "The Other Woman" (Season 5, Episode 11). It's my favorite kind of video analysis/criticism: no narration, no inter-tiles, just interwoven images, dialog and music.
NOTE: Don't even think of reading this if you haven't seen "The Other Woman," yet.
"The Other Women," the 11th installment in "Mad Men" Season 5, has one of those great titles (like "Shut the Door. Have a Seat," "The Rejected," "Tomorrowland," "Far Away Places") that keeps resonating as you think back on the episode itself. It begins in a meeting of creative executives in the Sterling Cooper Draper Pryce conference room, as Stan tosses out the primary theme -- of the episode and the Jaguar account pitch: "Jaguar: The mistress who will do things your wife won't." And that's the usual definition of "the other woman" -- the rival for the heterosexual breadwinner's affections, the spicy dish on the side. As Megan phrases it, the Jaguar is the mistress and the wife is the Buick at home in the garage. But that's only the beginning.
All three of the show's central female characters have been "other women" under certain circumstances, with various men. Joan has long been Roger Sterling's "other woman" -- not just his extra-marital go-to girl, but his office wife... and (unbeknownst to everyone else) the mother of his child. Peggy slept with Pete on the eve of his wedding to Trudy, got pregnant, and gave up the kid for adoption. She's never slept with Don (though a lot of the people in the SCDP office think that's how she attained her position), but don't underestimate how much her personal and professional second-bananaship has contributed to Don's fortunes as well as her own. It was clear early on how much he preferred her company at work to Betty Draper's at home.
And then Megan came along -- first as an employee (Joan: "He'll probably make her a copy writer; he's not going to want to be married to his secretary") and then as Don's wife -- the "other woman" who, in the eyes of Peggy and the rest of the firm, distracts him from the advertising job to which he was formerly "married." Don is so smitten with her that the company practically has to sue for alienation of affection. ("You've been on love leave," Cooper chastises Don at the end of "Far Away Places." "It's amazing things are going as well as they are with as little as you are doing.")
It all culminates in the line finessed by Michael Ginsberg (the word "mistress" can't be in the ad) and delivered by Don in SCDP's pitch: "Jaguar: At last a thing of beauty you can truly own." That last word deserves some explication. Yes, in the presentation, Don likens the temperamental beauty of the Jaguar to a woman, but the whole point of the proposal is that, as everyone knows, a woman can't be "owned." A car can. I only mention this because I've seen a few commentators claim that "The Other Woman" is an episode about "men trying to own women," and I think that's a bit simplistic. OK, men might wish they could "own" women on some level, but not even Don Draper or Roger Sterling -- not even Pete Campbell, fer chrissakes -- really believes that is possible in 1967.¹
Marie writes: Okay, this is just plain cool. This is clearly someone using their brain, in combination with "what the hell, let's just go ahead and try it..."
Dr Julius Neubronner's Miniature Pigeon CameraIn 1903, Dr Julius Neubronner patented a miniature pigeon camera activated by a timing mechanism. The invention brought him international notability after he presented it at international expositions in Dresden, Frankfurt and Paris in 1909-1911. Spectators in Dresden could watch the arrival of the camera-equipped carrier pigeons, whereupon the photos were immediately developed and turned into postcards which could be purchased. (click images to enlarge.) - from The Public Domain Review. Visit the site to see even more photos.
The Ebert Club Newsletter is 1 year old!
The Grand Poobah writes: "be there or be square...."(click to enlarge)
A few images from last week's "Mad Men" (or, as I often think of it, "The Peggy Olson Show Featuring Don Draper") to illustrate why composition and framing (aspects of what you might call cinematic architecture) make a world of difference in how a scene works... or doesn't. This episode, "The Rejected," was directed by John Slattery (who, as Roger Sterling, perfectly accents the new office design) and photographed as usual by Christopher Manley (overseen, of course, by series creator Matthew Weiner). Captions appear beneath the frame grabs below:
Don Draper (Jon Hamm) is falling apart, and the first shot shows him tethered to a phone cord, chain smoking, backed into a corner, with the ceiling closing in on him (as ceilings often do on "Mad Men"). The sight of Don compulsively puffing, lighting one smoke with the butt of another (he's on the phone with the notorious Lee Garner [Darren Pettie] from Lucky Strike, Sterling Cooper Draper Price's most financially important, and asshole-ish, client) is just the opposite of the way you would expect the well-groomed star of a TV series would be introduced -- especially in 1965. It turns out the subject of the call has to do with both cigarettes and television: the new FCC regulations for advertising cigarettes on TV. There's a delayed punchline a few shots later, when Don explains to Lee that certain camera angles are also prohibited -- like low angles or wide lenses, "anything that makes the smoker appear super-human." Yeah, we've seen that at work.
"Mad Men" has always been about compartmentalization: personal and professional, past and present, city and suburbia, accounts and creative... At first I didn't much like the new, glass and monochrome office spaces, about which silver fox Roger Sterling (John Slattery) remarked: "I feel like with my hair you can't even see me in here." Leave it to director Slattery to make the most out of these spaces in one of the finest episodes of the series (and leading contender for my favorite movie of 2010), "The Rejected" (Season 4, Episode 4). I put together this little wordless video essay about doors, windows, mirrors, transoms, hallways, pillars, screens, reflections... and I'm working on a frame-grab photo essay that gets into more detail about the exquisite direction and composition.
I've deliberately left out huge, important chunks of the episode that don't take place in the office -- but had to include Pete's magnificent shrug (with mirror, bar, decorative screen, and the unseen room down the hall), to contrast his apartment with his office, and the small framed mirror with the wall-sized observation mirror at work. The episode is mostly about Peggy (Elisabeth Moss) and Pete (Vincent Kartheiser) going in different directions, discovering new ways to open or close doors between their work and personal lives, contrasted with Don Draper (Jon Hamm), who begins the episode chain-smoking and drinking during a four-way phone call, his office a tangled web of coiled cords. Notice all the cross-sight-lines communication going on (horizontal, vertical, diagonal) -- people watching other people, exchanging glances or sight-unseen, through various frames in their separate compartments -- culminating in Don's seduced-and-ignored secretary Allison (Alexa Alemanni) staring the wrong way through the two-way mirror and looking Don right in the eye, unsettling him by seeing him for who he really is.
Both Pete and Peggy find themselves banging their heads against work surfaces in frustration/resignation, but the episode gives them a moment of grace, through glass doors in the reception area, in a brief, wordless coda I've included almost in its entirety. Peggy is leaving for lunch with some of her new boho friends; Pete is standing around with some suits ("new" clients, including his father-in-law), waiting for Don so they can have a business lunch. (BTW, I couldn't squeeze it in, but the shot of Pete knocking his forehead against the post in his office is followed by a shot of Peggy getting into the elevator -- much like the last shot here -- in which she first meets the LIFE photo editor who introduces her to the Village crowd who come by to get her at the end.) Man, what a terrific movie this is!
"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....
Protect Insurance Companies PSA from Will Ferrell
Thomas Lennon: "... and I'm not being sarcastic, not at all."
After the jump: Bill O'Reilly (really!) endorses the public option: