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.
An interview with "World of Tomorrow" director Don Hertzfeldt.
An interview with "I Smile Back" actress Sarah Silverman.
The Oscar for Best Actor could come down to a battle between actors considered overdue for their first Oscar.
A comparison of Frank Costello in The Departed and Whitey Bulger in Black Mass reveals weaknesses in the latter.
A recap of the 2015 Toronto International Film Festival by the contributors who were there.
Three films from TIFF, including "Families" and "I Smile Back".
Reviews of "The Family Fang," "Sunset Song" and "High-Rise" from Toronto.
A review of Ridley Scott's "The Martian," starring Matt Damon, Jessica Chastain, Jeff Daniels and Chiwetel Ejiofor.
A preview of the 40th Toronto International Film Festival
An overview of the films that will be theatrically released in the 2015 fall season.
A report on "Star Trek" related events at this year's San Diego Comic-Con.
An obituary for film icon Jerry Weintraub.
Barbara Scharres reports from Cannes 2015 on a disastrous screening of Gus Van Sant's "The Sea of Trees."
The epic uncool of Philip Seymour Hoffman; How "Selma" got smeared; The fantasy fueling "Sniper"'s popularity; Paradise in Palm Springs; Looking back at "Before Sunrise."
A feature on the latest major Blu-ray, Netflix, and On Demand releases, including "Gone Girl," "The Boxtrolls," "The Zero Theorem," "Coherence," and more.
Gilbert Gottfried on Robin Williams; Remembering Lauren Bacall; Paying attention; Tyler Ross shines in "The Killing"; Reflections on "Lawrence of Arabia."
A TV review of TNT's "Legends" with Sean Bean, Ali Larter and Morris Chestnut.
Gerardo Valero looks at George Lazenby's only outing as James Bond, "On Her Majesty's Secret Service".
Matt Zoller Seitz on why Philip Seymour Hoffmann mattered.
Documentarian Alex Gibney discusses how he turned a problem (he made a doc about Lance Armstrong's 2009 attempt to come out of retirement, but before the film was released, Armstrong's story turned sour) into a penetrating documentary.
Marie writes: Much beloved and a never ending source of amusement, Simon's Cat is a popular animated cartoon series by the British animator Simon Tofield featuring a hungry house cat who uses increasingly heavy-handed tactics to get its owner to feed it. Hand-drawn using an A4-size Wacom Intuos 3 pen and tablet, Simon has revealed that his four cats - called Teddy, Hugh, Jess and Maisie - provide inspiration for the series, with Hugh being the primary inspiration. And there's now a new short titled "Suitcase". To view the complete collection to date, visit Simon's Cat at YouTube.
Ryan Amon talks about the YouTube video that led to his first feature film score, in this week's "Elysium," directed by Neill Blomkamp ("District 9") and starring Matt Damon and Jodie Foster.
Marie writes: Behold an ivy covered house in Düsseldorf, Germany and the power of plants to transform stone, brick and mortar into a hotel for millions of spiders. To view an amazing collection of such images and showcasing a variety of buildings from around the world, visit The Most Colorful Houses Engulfed in Vegetation at io9.com.
Seven women writers talk about their problems with "male feminism"; Wikipedia blocks U.S. senate for "vandalism" of Edward Snowden's page; Millikin professor killed family 46 years ago, and now we're finding out; what it's like to have your movie taken away from you by Harvey Weinstein; David Edelstein on 'The Spectacular Now'; Matt Damon on the state of modern Hollywood; David Lynch on "Twin Peaks"
Marie writes: Widely regarded as THE quintessential Art House movie, "Last Year at Marienbad" has long since perplexed those who've seen it; resulting in countless Criterion-esque essays speculating as to its meaning whilst knowledge of the film itself, often a measure of one's rank and standing amongst coffee house cinephiles. But the universe has since moved on from artsy farsty French New Wave. It now prefers something braver, bolder, more daring...