American Fable is ambitious, maybe too much so sometimes, but there's an intense pleasure in the boldness of the film's style.
* 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.
Chaz Ebert highlights films with the potential to get us through the confusing political times of the Trump presidency.
Highlights of the live-action portion of 2015's D23, featuring "Star Wars: The Force Awakens," "Captain America: Civil War," and more!
It's a sunny, unseasonable 80 degrees as the 2012 Santa Barbara International Film Festival kicks in, but all I want is to be indoors. When you peer at a schedule listing nearly 200 films jammed into 10 days, and you just can't wait, you know you're an addict. This is my third SBIFF so I recognize the signs.
Suddenly each January, there's an extra bustle in this appealing, laid-back town. Downtown on lower State Street, trucks appear bearing vivid banners, soon to be festooned overhead. Special lights and rigging go up at 2 central venues - the precisely restored, historic Lobero and Arlington Theatres. Locals watch to see whether Festival Director Roger Durling changes his hair: one year it was spikey, another year purple. This time it's rather like Heathcliff - longer, romantic.
Marie writes: many simply know her as the girl with the black helmet. Mary Louise Brooks (1906 - 1985), aka Louise Brooks, an American dancer, model, showgirl and silent film actress famous for her bobbed haircut and sex appeal. To cinefiles, she's best remembered for her three starring roles in Pandora's Box (1929) and Diary of a Lost Girl (1929) directed by G. W. Pabst, and Prix de Beauté (1930) by Augusto Genina. She starred in 17 silent films (many lost) and later authored a memoir, Lulu in Hollywood."She regards us from the screen as if the screen were not there; she casts away the artifice of film and invites us to play with her." - Roger, from his review of the silent classic Pandor's Box.
Lawrence Kasdan's "Grand Canyon" didn't make a splash when it opened here in Mexico, and it's not the kind of feature that's ever shown on our TV, so hardly anybody I know has even heard about it. It's not an easy movie to describe. When people ask me about its subject, I say something like "It's about a group of people from Los Angeles living in despair who end up feeling better when they all get together and visit the Grand Canyon." Most of them seem to loose interest but the response of those who do see it is mostly overwhelming.
Watching "The Tree of Life" brought "Grand Canyon" to mind. The films couldn't be more different, but both deal with a search for a deeper meaning in our existence-- a sense of helplessness in trying to place ourselves in the grand scheme of things. They also lack defined plots or conventional structures.
When I observed the lifestyle of Ryan Bingham in Jason Reitman's wonderful movie "Up in the Air" early in this year, Lawrence Kasdan's 1988 movie "The Accidental Tourist" came to my mind. Like Ryan, Macon Leary (William Hurt) knows a lot about traveling around by plane. He can tell you how to pack your bag as small as possible.
TORONTO You hurry between theaters, barely enough time between curtains, and one gift after another comes from the screen. Your only regret is that for every good film you see, the people next to you are describing three you missed. This is the payoff after a slow summer at the movies, when it sometimes seemed directors were no longer swinging for the fences, but just happy to get on base.
LOS ANGELES -- Kevin Costner was so quiet and relaxed, so soft-spoken, it took a little while for me to realize how angry he was. Not angry at anyone or anything in particular, but just unhappy about having to get up every morning and deal with things that wear away at him. He didn't come out and say so. It was only later, looking over my notes, that I began to notice the same note being struck in different ways. If I could paraphrase his complaint, it would be that he means well and works hard and keeps plugging away, and the world is too careless with his pains.
"I want to find out what the censors say about my film," Andrei Konchalovsky whispered to the projectionist. "I'll give you a bottle of brandy if you eavesdrop after the screening, and let me know what their objections are."
LOS ANGELES -- We were sitting in the corner of a hotel room, and the lights had been turned off, and the cold December twilight was sifting in through the window, and William Hurt was talking in that introspective way of his -- musing about his ideas as he explained them.