How to Be Single
Think of "How to Be Single" as a cinematic Whitman’s Sampler: There are enough pieces that work to offset the pieces that don’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.
A celebration of Maggie Smith's career and a review of Michael Coveney's new biography about the actress.
A preview of the 51st Chicago International Film Festival.
A review of Fox Searchlight's "Brooklyn" and "Youth."
Three films from TIFF 2015 starring Natalie Portman, Charlotte Rampling and Helen Mirren.
A look back at the Brian De Palma film "Dressed to Kill," celebrating its 35th anniversary with a new Criterion release.
An overview of the films that will be theatrically released in the 2015 fall season.
Further evidence that Max von Sydow starred in more than just "Game of Thrones" and "Star Wars, Episode VII: The Force Awakens."
A report from the August 2015 installment of the Midwest Independent Film Festival in Chicago.
Our latest video from Cannes includes coverage of some of this year's biggest films, along with press conference footage from Macbeth and footage from the empathy panel led by Chaz Ebert.
A report from Cannes 2015 on the latest films from Paolo Sorrentino, Shin Su-won and Hou Hsio-hsien.
A review of Paolo Sorrentino's latest from Cannes.
A curtain raiser for the 2015 iteration of the Cannes Film Festival.
An appreciation of Joseph Sargent, Director of many classic television and theatrical films, including "The Taking of Pelham 123."
Lord Richard Attenborough, legendary director and actor, has passed away at the age of 91.
Simon Abrams on two sequels: "The Trip to Italy", the sequel to the hilarious "The Trip", and "The Raid 2".
Peter O'Toole, who died this weekend at 81, was great in great films and great fun in bad ones, and equally convincing as a rascal and a saint.
Bob Calhoun muses on the deleted scenes from "The Wicker Man," now restored in a new version.
Sheila writes: While life can often be messy and awful, and the bombardment of bad news from around the globe is disheartening to say the least, sometimes it really helps to sit back, relax, and watch a bunch of guys working together to play "Flight of the Bumblebees" on the cliched 100 bottles of beer on the wall. This clip came out a couple of years ago and I haven't tired of it. I love the collaboration and the creativity. I love in particular the scene that isn't shown here, the one where they worked it all out.
Peter Sobczynski ranks 27 films by Brian De Palma.
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.
Tom Shales looks at "Carson on TCM," a weekly series of shows culling great Carson interviews.
"As film exhibition in North America crowds itself ever more narrowly into predictable commercial fodder for an undemanding audience, we applaud those brave, free spirits who still hold faith with the unlimited potential of the cinema." - Roger
Fred Zinnemann's "The Day of the Jackal" (1973) is a great example of how a film can do a good job of creating tension and involving the viewer by sticking with the most basic cinematic elements. We have the benefit of comparing it with a remake ("Jackal," 1997) that went on the opposite direction and by wrongly doing everything that its predecessor got right, making he merits of the earlier version all the more evident. Both are distinctive reflections of how studios perceived audience tastes in their respective time periods. They are as different as two movies based on the same source might be and can hardly be classified in the same genre. The later entry is a brainless action flick; the original is a "thriller" in every sense of the word.
"If you think this movie is mediocre, why have you written so much about it?" That's a comment I sometimes get -- and although I understand where it's coming from, I don't think it makes sense if you stop to think about it for two seconds. I usually respond by saying that I don't see any contradiction there at all. Who hasn't encountered a movie that, afterwards, is more interesting to talk about than it was to actually sit through? Who would argue that the only movies worth analyzing and arguing about are those you think are successful? When I was 18, one of my college film professors told us something I've never forgotten -- that you can often learn as much (or more) about film from a bad movie as you can from a good one.
Ignatiy Vishnevetsky raises this same issue in a round-table conversation on "The Dark Knight Rises" at MUBI.com that takes a course similar to the ones we've been having here at Scanners:
... I'd be lying if I said that I don't derive pleasure from trying to crack it and figure out what exactly makes it frustrating or dull. You gotta give credit where credit is due: even when Nolan makes a mediocre film... it's at least fun to talk about. You can't say that about many filmmakers -- but, then again, it would be even better if the movie was as fun to watch as it is to discuss.
My feelings precisely. One more thing, though, before I get back to this MUBI confab, and that's the matter of tone and attribution of motive -- not to the movie or the characters in it, but to those who take part in the discussion. First, as I said previously, I have nothing worth adding to what's already been written about the shootings in Aurora, CO -- and I've avoided reading most of it because, as Dave Cullen wrote in last Sunday's New York Times, almost everything we think we know about the killer and even the circumstances of the incident itself, is wrong.
"Gotham's time has come. Like Constantinople or Rome before it, the city has become a breeding ground for suffering and injustice. It is beyond saving and must be allowed to die. This is the most important function of the League of Shadows. It is one we've performed for centuries. Gotham... must be destroyed." -- Ra's al Ghul (Ken Watanabe), "Batman Begins" (2005)
"Over the ages our weapons have grown more sophisticated. With Gotham we tried a new one: economics.... We are back to finish the job. And this time no misguided idealists will get in the way. Like your father, you lack the courage to do all that is necessary. If someone stands in the way of true justice, you simply walk up behind them... and stab them in the heart." -- Ra's al Ghul (Liam Neeson), "Batman Begins" (2005)
"You see, their morals, their code, it's a bad joke, dropped at the first sign of trouble. They're only as good as the world allows them to be. I'll show you. When the chips are down, these civilized people, they'll eat each other." -- The Joker (Heath Ledger), "The Dark Knight" (2008)
"Terror is only justice: prompt, severe and inflexible; it is then an emanation of virtue; it is less a distinct principle than a natural consequence of the general principle of democracy, applied to the most pressing wants of the country." -- Maximilien Robespierre, 1794
"I am Gotham's reckoning... I'm necessary evil.... Gotham is beyond saving and must be allowed to die." -- Bane (Tom Hardy), echoing his former master in "The Dark Knight Rises" (2012)
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(You've seen "The Dark Knight Rises" by now, right? Good. I'm going to discuss a few things that I would consider spoilers, albeit mild ones, and then get to some pretty big spoilers later on, before which I will offer an additional warning, just in case.)
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The villains of Christopher Nolan's "Batman" movies don't think very highly of "ordinary citizens" (now popularly referred to as "the 99 percent"), whom they tend to view as mindless savages, slaves to fear who'll claw one another and the city of Gotham to shreds at the slightest provocation. The films themselves sometimes confirm that view (Gothamites get a little panicky in "The Dark Knight" when they fear that Batman is not keeping the crime rate down) and sometimes don't (they choose not to blow themselves up in the Joker's intricately planned ferry experiment). This isn't really a theme that's developed in the movies, but like most of the political and social references, it's something that's... there.