As Above, So Below
It's that rare found-footage film with a strong premise, a memorably eccentric style, and plenty of energy to burn. It's also poorly conceived, and hard…
* 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 obituary for the legendary Lauren Bacall.
Steve Erickson discusses James Gray's career with the director of the upcoming The Immigrant.
The Chicago Sun-Times reports on the 2014 Ebertfest, including appearances by Oliver Stone & Spike Lee.
Recent titles released on Blu-ray.
Recent releases on Blu-ray, including Cat People, Death Wish, Thunderbolt and Lightfoot, and more.
Matt Zoller Seitz's Top 10 films of 2013.
Brian De Palma talks about his new film "Passion," his long career and seeing one of his most famous films, "Carrie," get a remake.
Peter Sobczynski ranks 27 films by Brian De Palma.
Is the director's explicit "The Canyons" the nadir of his career—or its climax?
Marie writes: Last week, in response to a club member comment re: whatever happened to Ebert Club merchandize (turned out to be too costly to set up) I had promised to share a free toy instead - an amusement, really, offered to MailChimp clients; the mail service used to send out notices. Allow me to introduce you to their mascot...
An interview with Nicolas Winding Refn, director of "Valhalla Rising," "Drive" and "Only God Forgives," among other films. Simon Abrams talks to the filmmaker about midnight movies, meeting Alejandro Jodorowsky, and the possibility that he might day make a Wonder Woman movie.
Marie writes: Behold the amazing Art of Greg Brotherton and the sculptures he builds from found and re-purposed objects - while clearly channeling his inner Tim Burton. (Click to enlarge.)
"With a consuming drive to build things that often escalate in complexity as they take shape, Greg's work is compulsive. Working with hammer-formed steel and re-purposed objects, his themes tend to be mythological in nature, revealed through a dystopian view of pop culture." - Official website
Marie writes: When I first learned of "Royal de Luxe" I let out a squeal of pure delight and immediately began building giant puppets inside my head, trying to imagine how it would look to see a whale or dragon moving down the street..."Based in Nantes, France, the street theatre company Royal de Luxe performs around the world, primarily using gigantic, elaborate marionettes to tell stories that take place over several days and wind through entire cities. Puppeteers maneuver the huge marionettes - some as tall as 12 meters (40 ft) - through streets, parks, and waterways, performing their story along the way." - the Atlantic
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Marie writes: The countdown to Christmas officially begins the day after Halloween, which this year lands on a Wednesday. Come Thursday morning, the shelves will be bare of witches, goblins and ghosts; with snowmen, scented candles and dollar store angel figurines taking their place. That being the case, I thought it better to start celebrating early so we can milk the joy of Halloween for a whole week as opposed to biding adieu to the Great Pumpkin so soon after meeting up again...
Marie writes: I may have been born in Canada, but I grew-up watching Sesame Street and Big Bird, too. Together, they encouraged me to learn new things; and why now I can partly explain string theory.That being the case, I was extremely displeased to hear that were it up Romney, as President he wouldn't continue to support PBS. And because I'm not American and can't vote in their elections, I did the only thing I could: I immediately reached for Photoshop....
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"Charles & Ray Eames: The Architect and the Painter" (85 minutes) premieres December 19th at 10:00pm on the PBS series "American Masters, " and will be available thereafter on PBS-on-demand. The film will also be released on DVD on Dec. 13th.
The six-DVD set of "The Films of Charles & Ray Eames" is available from Facets Multimedia ($79.99) and a few other online outlets, and each disc can be rented separately from Netflix.
by Jeff Shannon
If I had been a precocious six-year-old with a passion for architecture, I could've told you that my elementary school was an Eames building. It wasn't designed by Charles Eames himself, but everything about it was influenced by the design aesthetic of Charles and Ray Eames, most notably the design of the Eames' own home in Pacific Palisades, California.
A now-legendary structure known in the architecture world as Case Study No. 8, the Eames House (completed in 1949) is a geometrical marvel of steel and glass, squares and rectangles carefully aligned or offset to pleasing effect, with bold colors (Ray being the painter and co-designer, Charles being the architect) to complement the inviting lines of the structure. Like so many public structures built in the late '50s and early '60s, Seaview Elementary in Edmonds, Washington, was a wanna-be Eames House for grade-schoolers, a modest, functional tribute to Charles and Ray Eames and a symbol of their phenomenal influence on the look of the 20th century.
So ubiquitous is the Eames influence that it remains utterly unique, not merely in terms of design but in the grand design of the human species. Stroll through any major city in the world and chances are you'll see the Eames influence everywhere, from the cheap functionality of IKEA furniture to the form-fitting fiberglass of chairs in cafeterias, lobbies and waiting rooms all over the planet. When you realize that the Eames influence is literally inescapable in the lives of city-dwellers everywhere, you don't feel resentful as you might upon finding Starbucks coffee shops on both sides of the same street. Instead, you might register a kind of awestruck gratitude for how Eames designs have improved your life and the lives of everyone you know.
I was going to say, up front, that I had some mixed feelings about Nicolas Winding Refn's "Drive," but I'm not sure that "feelings" is the appropriate word. This 1980s pastiche (isn't that the "Risky Business" typeface lit up in neon pink?) is emotionally and narratively stripped down to resemble the sleek, polished surfaces of... well, muscle cars, but also movies by the likes of Walter Hill ("The Driver"), Michael Mann ("Thief"), William Friedkin ("To Live and Die in L.A."), Paul Schrader ("American Gigolo") and others. It even sports an aggressively ersatz-Tangerine Dream synth score of the kind so popular in the early 1980s, though this one also features some Euro-vocals with unfortunate English day-glo-highlighter lyrics ("a real human being and a real hero..."). Emotion, character, story -- they're not so much what "Drive" is interested in. The movie makes fetishistic use of signifiers for those things, but its most tangible concerns have (paradoxically?) to do with dreamy abstractions of color and shape and movement.
I like the red a lot. Not just the blood (which is the heart of the film, and I'll get to that in a minute), but there's so much blue (teal?) and orange and pink that when the red starts gushing in, it pumps some real excitement into what has, by that point, settled into a fairly static picture. (In some respects, I think "Drive" perversely hints at an art-house action movie -- and an erotic movie -- it never quite delivers, after a pretty [and] terrific archetypal getaway chase at the beginning, in which the Driver shows off his skills at using Los Angeles infrastructure to play hide-and-seek with cop cars and helicopters. Thank goodness, though, that it never turns into the racetrack movie it briefly threatens to become.)
So, the red: It excites the eyeballs (and signals imminent danger) in the red-and-white checkered windows at Nino's Pizza. But as I recall, it really gets going at Denny's. The nameless Driver (Ryan Gosling), a movie stuntman who also works as a mechanic and moonlights as a getaway car wheelman-for-hire, sits down with his generic romantic-interest neighbor Irene (Carey Mulligan), who wears a red uniform vest as a Denny's waitress, in a booth with red light fixtures above it and a BIG plastic bottle of ketchup on the table. I don't remember what the conversation is about -- it doesn't matter, but it's probably something about her husband Standard (Oscar Isaac), who's just got out of jail and owes money to some brutal sleazebags who are threatening to physically harm him and Irene and their son Benicio (Kaden Leos), to whom Driver has also taken a shine. What I remember is the red. The film becomes pregnant with red.
It's simple, really: Trailer for Adam Sandler's "Jack and Jill" (Dennis Dugan, 2011) + memorable scene from "Hardcore" (Paul Schrader, 1979) in which George C. Scott discovers that his missing daughter has been making porno movies. Instant movie magic.
(tip: Pat Healy)
Although most religions forbid it, human societies throughout history have accepted suicide as a reality. Sometimes, as in Japan, it was seen as a matter of personal honor. Usually it was seen as an act of despair, or a manifestation of insanity. It can also be seen as a rational act, and to assist someone in committing it can be seen as an act of mercy.
I have never, even in my darkest hours, considered suicide. But with my troubles I have been fortunate; I've never had unbearable physical pain. In Barry Levinson's movie "You Don't Know Jack," Dr. Jack Kevorkian's best friend says his mother told him: "Imagine the worst toothache you've ever had. Now imagine that's how it feels in every bone of your body."
Call it a bloodbath. Not literally, of course, but it sure felt like one.
It was a Friday afternoon in late spring 1993 at The American Film Institute. The Class of 1992, which had pretty much killed itself making short films ("cycle projects") since starting the program in September, was waiting for a list. Dreading it, too. Because everybody'd known all year that of 168 "Fellows," as AFI calls them --- only 40 (or just 8 across 5 disciplines - directing, producing, cinematography, editing, production design) would be invited back, making that coveted Second Year cut for the opportunity to produce a second year film.
A top secret selection committee debated late into the day. Even I, then Special Projects Coordinator and right hand to the Dean of Studies, didn't know who was meeting. There was tension everywhere, clinging like the humidity of a Midwestern summer, as the committee decided, and the Fellows waited.
Arthur Penn, whose "Bonnie and Clyde" was a watershed in American film, died Tuesday night at 88. Gentle, much loved and widely gifted, he began life in poverty and turned World War Two acting experience in the Army into a career that led to directing in the earliest days of television and included much work on Broadway.
Let us give thanks for Matt Zoller Seitz, who cooked up this luscious banquet -- entitled "Feast" -- for our delectation in this season of gustatory revelry. It is available on the Moving Image Source site in two flavors -- straight up and annotated. Matt writes:
Writer-director Paul Schrader has said that sex and violence are the vicarious pleasures that drive the vast majority of commercial films, and he's right. But food is arguably just as alluring, and in its way, its appearance on screens -- and when it does appear, it's often as lovingly lit and framed as a reclining nude -- might be even more revelatory and pleasurable, because its appeal isn't solely based on unattainable fantasy. It's not bloody likely that any of us will ever be able to bed a movie star or save the universe from evil. But if we study and practice the culinary arts (or are lucky enough to know somebody who's already an expert) we can experience delights that are as astounding as any mouth-watering scenario that food-obsessed filmmakers can devise. Every plate of food that appears onscreen is a dream that could come true.
Has there been a more harrowing and courageous performance this year? Willem Dafoe plays a wholly evil man occupying a wholly evil world in Lars Von Trier's "Antichrist," a new film that challenges its viewers so boldly that some have fled from the theater. Von Trier's films often stir up heated discussion, but never has he made a film quite this formidable.
That's the hard-boiled Dragline, speaking of Cool Hand Luke.
After she read my obituary of Paul Newman, my wife Chaz asked me, "Why didn't you write more about his acting?" She was right. Why didn't I? I've been asking myself that. Maybe I was trying to tell myself something. I think it was this: I never really thought of him as an actor. I regarded him more as an embodiment, an evocation, of something. And I think that something was himself. He seemed above all a deeply good man, who freed himself to live life fully and joyfully, and used his success as a way to follow his own path, and to help others.