Don’t Breathe gets a little less interesting as it proceeds to its inevitable conclusion, but it works so well up to that point that your…
* 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 of the screenings and events at the 2015 Middleburg Film Festival.
Highlights of the live-action portion of 2015's D23, featuring "Star Wars: The Force Awakens," "Captain America: Civil War," and more!
Ben Kenigsberg looks for fresh perspectives at this year's festival.
"Selma" director Ava DuVernay and star David Oyelowo discuss their collaboration at the Film Independent Directors Close-Ups.
Terrence Howard and Taraji P. Henson come to network TV with FOX's entertaining "Empire."
An interview with Ava DuVernay and David Oyelowo, director and star of "Selma."
An exhaustive list of Top 10s by RogerEbert.com contributors.
Missing Roger's Oscars prognostications and his top ten lists. And making a list of my own.
The Oscars race has hit a holiday lull. It's a good time to pause and take stock of nominations.
By all accounts, 2013 has been a striking year for black film directors. But is the real story about black directors working in television?
Critics groups from around the country are giving awards. What impact do these awards have on the Oscar race, and how useful are they as predictors?
Matthew McConaughey talks about how he is dealing with the Oscar buzz around his "Dallas Buyers Club" performance.
"12 Years a Slave" and "The Butler" are part of a valuable subgenre of American film that dramatizes the fallacy of "Black respectability"—the notion that if African-Americans will only speak, dress and behave in a certain way, discrimination won't affect them, and they'll reap the American dream.
Lee Daniels, the director of "Lee Daniels' The Butler," discusses his personal stakes in the story and working with Forest Whitaker on the way the character grows and changes.
Jenji Kohan on why she can write women of color; a campaign to save drive-in theaters; Danny Boyle's 15 rules of moviemaking; Lee Daniels on how racism impacted funding for "The Butler"; memoirist Laura Bogart on writing and anger.
Marie writes: There was a time when Animation was done by slaves with a brush in one hand and a beer in the other. Gary Larson's "Tales From the Far Side" (1994) was such a project. I should know; I worked on it. Produced by Marv Newland at his Vancouver studio "International Rocketship", it first aired as a CBS Halloween special (Larson threw a party for the crew at the Pan Pacific Hotel where we watched the film on a big screen) and was later entered into the 1995 Annecy International Animated Film Festival, where it won the Grand Prix. It spawned a sequel "Tales From the Far Side II" (1997) - I worked on that too. Here it is, below.
Marie writes: It's that time of year again! Behold the shortlisted nominees for The Turner Prize: 2012. Below, Turner Prize nominee Spartacus Chetwynd performs 'Odd Man Out 2011' at Tate Britain on October 1, 2012 in London, England.
(click image to enlarge.)
Marie writes: This week's Newsletter arrives a day early and lighter than usual, as come Tuesday morning, I'll be on a Ferry heading to Pender Island off the West Coast, where I've arranged to visit old friends for a few days and enjoy my first vacation in two years; albeit a brief one. No rest for the wicked. :-)
Big stars were out to shine this morning in Cannes, when "The Paperboy" by Lee Daniels premiered in competition, with a cast that includes Matthew McConaughey, Zac Efron, Nicole Kidman, David Oyelowo, John Cusack, and Grammy Award-winning R&B singer Macy Gray. Daniels had a massive hit with his previous film "Precious," which premiered here in 2009 and went on to earn six Oscar nominations with two wins, and countless other awards worldwide.
A director with that kind of success in his recent past has got to have a lot of hopes and fears riding on his next film. Daniels certainly had star power in his corner on "The Paperboy," but the film got a mixed reaction this morning in the Palais, and I'm not sure it's headed for a repeat of the acclaim that "Precious" experienced.
"The Paperboy" is adapted by Pete Dexter and Daniels from Dexter's novel of the same title. The film reportedly takes a few deviations from the source novel (which I haven't read) to result in pretty much a whole new story. There are many shifts of tone, making the film simultaneously a comedy, a mystery/thriller, and a Southern gothic potboiler. It's amusing and frustrating; hilarious and tense; awkward in its construction yet featuring bursts of gripping acting.
• Chaz Ebert at Cannes
Dear Roger: "We were once indivisible from every atom in the cosmos," and that is how I feel when I am sitting in the Palais watching movies at Cannes with a screen spread out as wide as the galaxy, the audience circling around like protons and neutrons breathing as one in empathy.
LOS ANGELES -- I wonder what this might mean. "Precious" did about as well as it possibly could have Friday might at the Independent Spirit Awards. It won for best picture, best actress (Gabourey Sidibe), best supporting actress (Mo'Nique), best director (Lee Daniels) and best first screenplay (Geoffrey Fletcher). Supporting actor Lenny Kravitz was in the house, but couldn't win because he wasn't nominated.
Talking with Jason Reitman is uncannily like talking to a real person and not the director of an Oscar contender. He's not on autopilot. He's not using sound bites. He's just talking.