The Boss Baby
If this doesn’t sound exactly like a bundle of laugh-out-loud joy, that’s because it really isn’t.
* 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.
The RogerEbert.com pick for the Best Supporting Actor of 2014.
An appreciation of Stanley Kubrick on the release of "Stanley Kubrick: The Masterpiece Collection".
Another brawl in the square Another stink in the air! Was there a witness to this? Well, let him speak to Javert! -- Javert, a character in the musical "Les Misérables"
I was an eyewitness to "Les Misérables."
After repeated exposure to that dreadful theatrical trailer-cum-featurette about how the singing is all done live on camera! -- It's live! It's Live! IT'S LIVE! -- I had no intention of seeing Tom "The King's Speech" Hooper's film version of the 1980s stage musical. But when it finally came out, some of the reviews were so bad that part of me wanted to see what the stink was all about. Still, I'm not a masochist; I don't enjoy going to movies I know I'm probably predisposed to dislike just so I can dump on them. On the other hand, there's nothing better than having your low expectations upended. I did enjoy that Susan Boyle YouTube video back in 2009, but that was all I knew about the musical. I remained curious but skeptical. And then ...
WARNING: Your eyes and ears will be be exposed to the fully spelled-out and pronounced f-word if you play the above clip.
I love typography. If you've read previous posts on "Helvetica" and Trajan, the Movie Font, you know that.
Thanks to Dennis Cozzalio and Larry Aydlette for calling my attention to these lively and imaginative animations that breathe Kinetic Typographical life into great (and even not-so-great) chunks of movie dialog.
Above: Some choice words from "The Big Lebowski," written by Oscar-winners Joel and Ethan Coen. In Helvetica.
Below: The rules of "Fight Club."
View image One question: Sure, the desaturated color is extra-artsy looking in a self-consciously pretty/gritty way, but Clint: Why not just go ahead and have the balls to make the movie in black and white?
I don't know if I'll feel the same way about these movies, but these critics have a way with a memorable phrase. (I didn't read past the first line of Gozalez's review -- quoted here -- because I'm seeing the movie when it opens.) And, yes, I'm also quoting them, on my blog, because something tells me I might be inclined to agree with them. I'll let you know either way...
Ed Gonzalez on Clint Eastwood's "Flags of Our Fathers" (written by William Broyles Jr. and rewritten by Paul Haggis): "The stink of 'Crash' hovers over 'Flags of Our Fathers.'" Nathan Lee on "Texas Chainsaw Massacre: The Beginning":"Where did Leatherface (Andrew Bryniarski) get his flesh mask, and how did he come to select his signature power tool? What’s the back story of Officer Hoyt (R. Lee Ermey), and why does he eat people?
"The answers are beside the point. The movie exists to brutalize. Like 'The Passion of the Christ,' it is an invitation to hard-core sadism. Mel Gibson tried to turn atrocity into spiritual catharsis. The producers of 'The Beginning' merely package it, sell it to the masses and hope they don’t vomit in their nachos. "
David Edelstein on "Jesus Camp":"Although the film tracks several kids—among them the adorable, snub-nosed Rachael and the dapper budding evangelist Levi—its dark heart is preacher Becky Fischer, who tells children that in the Old Testament a warlock like Harry Potter 'would have been put to death.' Oh, sure, she believes in democracy, she says to Air America host Mike Papantonio, but 'we can’t give everyone equal freedom because that’s going to destroy us.' 'Jesus Camp' makes the best case imaginable for atheism."
Stanley Kubrick, one of the greatest of film directors, and perhaps the most independent and self-contained, is dead at 71. The creator of "2001: A Space Odyssey" died early Sunday morning at his country home north of London.