Slick, glossy and radiating juicy villainy, it knows exactly what kind of movie it is and goes for it with giddy abandon.
* 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 the one and only Norman Lear.
A celebration of director David Lynch's filmography in anticipation of an upcoming retrospective at the IFC Center in New York.
A review of two opening night films from Sundance 2017.
A preview of the 54th New York Film Festival, including "Son of Joseph," "The Rehearsal," "Graduation," "Sieranevada" and much more.
Matt writes: In his captivating 2005 memoir, Kiss Me Like a Stranger, Gene Wilder reflected on his experience of making Mel Brooks' 1974 comic masterpiece, "Young Frankenstein." He likened making the picture to "taking a small breath of Heaven" each day, and that is what the film feels like every time I watch it. Wilder passed away on August 29th at age 83, leaving behind a timeless legacy that was celebrated at RogerEbert.com with Peter Sobczynski's beautiful obituary. Ebert himself gave four stars to several Wilder classics, including 1971's "Willy Wonka and the Chocolate Factory," 1974's "Blazing Saddles" and of course, 1974's "Young Frankenstein," a film that earned Wilder an Oscar nomination for the screenplay he co-authored with director Mel Brooks. In his review, Roger wrote that the film "shows artistic growth and a more sure-handed control of the material by a director who once seemed willing to do literally anything for a laugh. It’s more confident and less breathless."
A tribute to the late comic genius, Gene Wilder.
A look at "The In-Laws" in light of its Criterion Blu-ray release this month.
A report on three documentaries playing at the 2016 Tribeca Film Festival.
Monica Castillo responds to our Movie Love Questionnaire.
An article highlighting three films at Sundance 2016.
The movie questionnaire and 2015 reviews of RogerEbert.com film critic Simon Abrams.
An article on Madeline Kahn in light of the release of a new book about her.
A review of FX's "The Comedians" and "Louie".
An interview with film critic Matt Fagerholm.
An interview with Mick Sacks, author of "Poking a Dead Frog: Conversations with Today's Top Comedy Writers."
The first official day of San Diego Comic-con, Thursday, I sat down with the award-winning Broadway producer Vivek J. Tiwary for an interview about his first graphic novel, "The Fifth Beatle: The Brian Epstein Story," which he is adapting and producing into a feature film.
An interview with Woody Allen about his new film, "Magic in the Moonlight."
"Anchroman 2: The Legend Conitunes" director Adam McKay talks about Mel Brooks, 1980s television news and Ron Burgundy's pet shark.
Writer Simon Abrams responds to our Movie Love Questionnaire.
Tom Shales looks at "Carson on TCM," a weekly series of shows culling great Carson interviews.
Dedicated to memories of Roger Ebert, for the simple reason that talking about movies is so thrilling. He did not like lists, but I love his lists.
Some horror movies have mercy on uninformed audiences who have no idea about what they will get. The opening sequence of New Zealand horror film "Dead Alive" (1992), which is also known as "Braindead", is a good example because it kindly gives the audiences a very clear idea of what it about and how it is about. As the hero escapes from the natives of Skull Island (Southwest of Sumatra) with a mysterious creature dreaded by the natives, he accidentally gets bitten by the animal, hidden in a wooden crate. He says he's all right, but his local employees are suddenly frightened about that.
"Woody Allen: A Documentary" airs on PBS stations in two parts, at 9 p. m. Sunday and Monday, Nov. 20 and 21. Check local listings for airtimes. Also available via PBS On Demand.
by Odie Henderson
I took this gig as a challenge. It's not that I hate Woody Allen; I just don't adore him as much as you would like. Plus, I live in the Bizarro World when it comes to his films, enjoying the ones most people hate and vice-versa. For example, I hated "Match Point," disliked "Annie Hall," and could never commit to "Manhattan" despite its astonishing, heartbreaking cinematography. Conversely, I loved "Deconstructing Harry," found "A Midsummer Night's Sex Comedy" amusing, and I may be the only sane person who liked "Hollywood Ending." These confessions may disturb die-hard fans, but before you vow never to read anything of mine again, you should watch American Masters' "Woody Allen: A Documentary." There you'll discover that Woody Allen dislikes most of his movies, even going so far as to offer to make a different movie for free if United Artists used "Manhattan" for kindling. Compared to that, my "meh" reaction to the gorgeous-looking film is a ringing endorsement. We now know who should be getting your hate mail, don't we?
Not that Allen would care. Robert B. Weide's exceptional documentary makes clear that critical opinion is the farthest thing from its subject's mind. The prolific writer-director has been too busy cranking out a film a year for the past four decades to worry about what anyone thinks of them. You'd have to go back to the studio system's heyday for that kind of output, work that produced eleven solo and three collaborative Oscar nominations for writing. That's two more than my beloved Billy Wilder, who coincidentally never got a solo writing nomination. Add to those fourteen writing nods his six directing nominations, sole acting nod and the resulting three wins, and you have one of the most honored filmmakers in Hollywood history. He can expect a 22nd nomination for "Midnight In Paris," which I cop to liking but not with the slobbering praise afforded it by most critics. (It's like a cross between Cliffs Notes, "The Purple Rose of Cairo" and a Tea Party rally, with all that "it's so much better in the past" nonsense.) The fact that awards mortify Allen makes these numerous acknowledgements the kind of ironic, funny joke one would find in, well, a Woody Allen movie.
Marie writes: remember "The Heretics Gate" by artist Doug Foster? Well he's been at it again, this time as part of an exhibit held by The Lazarides Gallery - which returned to the subterranean depths of The Old Vic Tunnels beneath Waterloo Station in London, to present a spectacular group show called The Minotaur. It ran October 11th - 25th, 2011 and depending upon your choice (price of admission) dining was included from top Michelin-star chefs.Each artist provided their own interpretation of the classical myth of Theseus and the Minotaur and as with The Heretics Gate before it, Cimera, Doug Foster's new and equally as memorizing piece made it possible to project whatever comes to mind onto it, as images of body forms and beast-like faces take shape and rise from the bowels of earth. (click image to enlarge.) Photo by S.Butterfly.