Nothing here deserves to be characterized as morbid. Indeed, quite the opposite.
* 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.
Matt writes: Living legend Warren Beatty has a new film in theaters—his first in 18 years—and it has received quite a bit of coverage at RogerEbert.com. Matt Zoller Seitz awarded the film three stars, while Brian Tallerico interviewed Beatty along with the film's two young stars, Alden Ehrenreich (the future Han Solo) and Lily Collins. Yet in addition to these new articles, our site contains a wealth of archival interviews with Beatty conducted by Roger Ebert, including this essential conversation from 1967, in which Beatty discusses the controversial violence in "Bonnie and Clyde" famously panned by The New York Times critic Bosley Crowther.
Matt writes: Music legend Leonard Cohen passed away on November 7th, and became the latest in a long string of celebrity deaths this year that have inspired an outpouring of grief among fans.
A look at what films like "Sully" and "Deepwater Horizon" say about the modern disaster movie.
An extensive preview of 50 films coming out within the next four months, from "Sully" to "Toni Erdmann."
A preview of the 2016 Toronto International Film Festival.
The first films announced for the 2016 Toronto International Film Festival.
The latest and greatest on Blu-ray/DVD and streaming services, including "About Elly," "Furious 7," "Love & Mercy," "Moonrise Kingdom" and more!
A review of two new HBO comedies: Ballers and The Brink.
A performance here and there; the fascinating narrative of Perrotta’s; the commentary on how poorly human beings deal with earth-shattering change—there are reasons to watch "The Leftovers" and I’m curious enough to keep going through at least the first season, but lower those expectations that this is the next great 2014 TV drama.
Ben Affleck's "Argo" (2012) is a unique specimen. On the one hand, it is an exciting, suspenseful rescue story. It is his best film, though as a central character he seems to keep directing himself as a mostly expressionless central character. It is, without doubt, thrilling from start to finish. On the other hand, it is a crass cheerleading of ethnocentrism, recalling Menahem Golan's "Delta Force" (1986). As I watched "Argo," part of me was absorbed in the suspense, as though I was wide eyed, with my hand covering my open mouth. Another part of me was thinking that the timing of its release was a bit too perfect, as though I was scratching my head, thinking "Seriously? You're stooping that low?" Still, the film seems to even take that point as a subtle comment about global cinema culture.
Marie writes: I received the following from intrepid club member Sandy Kahn and my eyes widened at the sight of it. It's not every day you discover a treasure trove of lost Hollywood jewelry!
Grace Kelly is wearing "Joseff of Hollywood"chandelier earrings in the film "High Society" (1965)(click image to enlarge.)
Marie Haws: Remember the Old Vic Tunnels? I did some more sniffing around and you'll never guess where it led me. That's right - into the sewer system! But not just any old sewer, oh no... it's the home of a famous forgotten river flowing beneath Fleet Street; the former home of English journalism.So grab a flashlight and some rubber boots as we go underground to explore "mile after mile of ornate brickwork" and a labyrinthine of tunnels which reveal the beauty of London's hidden River Fleet. (click images to enlarge.)
Marie writes: Did you know that the world's steepest roller-coaster is the Takabisha, which opened earlier this year at the Fuji-Q Highland Amusement Park in Yamanash, Japan? The ride lasts just 112 seconds but is packed with exciting features including seven twists, blackened tunnels and a 43m-high peak. But the most impressive thing about Takabisha is the 121 degree free-fall, so steep that it's been recognized by the Guinness World Records as the steepest roller-coaster made from steel!
Marie writes: I love illustrators best in all the world. There's something so alive about the scratch and flow of pen & ink, the original medium of cheeky and subversive wit. And so when club member Sandy Kahn submitted links for famed British illustrator Ronald Searle and in the hopes others might find him interesting too, needless to say, I was quick to pounce; for before Ralph Steadman there was Ronald Searle... "The two people who have probably had the greatest influence onmy life are Lewis Carroll and Ronald Searle."-- John LennonVisit Kingly Books' Ronald Searle Gallery to view a sordid collection of wicked covers and view sample pages therein. (click to enlarge image.) And for yet more covers, visit Ronald Searle: From Prisoner of War to Prolific Illustrator at Abe Books.
For tax day, the editors at MSN Movies came up with an idea for contributors to write short essays about the most, ahem, "taxing" people in modern movies. Each of us picked a person whose presence, behind or in front of the camera, we find wearisome and debilitating -- as in the Merriam-Webster Dictionary definition of taxing: "onerous, wearing."
You've probably already guessed my choice. I've written quite a bit about why I find Christopher Nolan's post-"Memento" work lackluster, but this exercise gave me an opportunity to condense my reservations about his writing and directing into one relatively concise piece:
Let me say up front that I don't think Nolan is a bad or thoroughly incompetent director, just a successfully pedestrian one. His Comic-Con fan base makes extravagant claims for each new film -- particularly since Nolan began producing his graphic-novel blockbusters with "Batman Begins" in 2005 -- but the movies are hobbled by thesis-statement screenplays that strain for significance and an ungainly directing style that seems incapable of, and uninterested in, illustrating more than one thing at a time: "Look at this. Now look at this. Now look at this. Now here's some dialogue to explain the movie's fictional rules. Now a character will tell you what he represents and what his goals are." And so on ... You won't experience the thrill of discovery while looking around in a Nolan frame. You'll see the one thing he wants you to see, but everything around it is dead space. [...]
Q. Considering the mixed reaction Elia Kazan got for his Lifetime Achievement Award--due to his artistic brilliance but lousy moral judgment--do you think Leni Riefenstahl will be acknowledged during the "in memory of" presentation at the next Academy Awards? If so, do you predict applause or protest? (Alexander Higle, Stamford CT)
TORONTO -- Toronto 1998 was an edgy festival for people like me who are convinced that anything can theoretically be a legitimate subject for a film. Movies about the Holocaust, child abuse, rape and reckless murder have had audiences cringing and critics embroiled in nose-to-nose debates in the lobbies. The director John Waters has coined a term for them: Feel-Bad Comedies. So have I: the New Geek Cinema.
TORONTO, Canada -- One week after the gross-out comedy "There's Something About Mary" reached No. 1 at the box office, here's Cameron Diaz back again in an even grosser movie - one that makes "Mary" look positively tasteful by comparison."Very Bad Things," which had its world premiere this weekend at the Toronto Film Festival, tests the limits of what a general-audience picture can contain. Although my review will wait until the movie opens, word will be quickly spreading from a capacity crowd that was urged by writer-director Peter Berg to shout at the screen: "Hit it back! It can take it!"Diaz has a supporting role, as a 27-year-old who is focusing obsessively on her upcoming marriage. Most of the movie involves a Las Vegas bachelor party and its aftermath, as her fiancee (Jon Favreau) is joined by his buddies (Christian Slater, Jeremy Piven, Daniel Stern and Leland Orser) in a wild booze-and-drugs orgy that ends with them burying bodies in the desert. And that's only the start of the very bad things.It's not the story that's startling, really, but the gruesome, violent tone. The events in "Very Bad Things" could occur in lots of different kinds of movies, but Berg seems intent not only on pushing the envelope but slashing and burning it.The question occurs: Is Hollywood going to get involved in a race to outgross itself? There were those who were offended by "There's Something About Mary," but at heart it was a romantic screwball comedy, and it got away with murder because it was really, truly funny. A movie doesn't climb to the top of the box-office charts in its eighth week unless the word of mouth is extraordinary: Moviegoers are obviously telling their friends about it, and taking them to see it at theaters that shake with laughter.If laughter can redeem borderline subject matter, one wonders how much laughter it will take to redeem "Very Bad Things," which involves mayhem so gruesome it upstages the previous record-holder, "Shallow Grave," especially in the vivisection and burial department. There are racial themes sure to make audiences uncomfortable (two of the victims are black and Asian; several of the heroes talk much of their Jewishness). And although the later stages of the movie relax into somewhat more conventional slapstick, the Vegas scenes seem inspired by gore and slasher movies more than by comedy.Will this mixture work at the box office? I heard a lot of laughter and some applause at theToronto premiere. But, less obviously to be sure, I sensed that many audience members were watching in thoughtful silence.What a contrast was "After Life," the new film by Japan's Hirokazu Kore-Eda, whose "Maborosi" was one of the best films of last year. The new film has a premise that sounds simplistic, but the film reaches surprising emotional insights.It's about a way-station between this world and the next, where the newly deceased are asked to choose one memory that they wish to preserve. The memory is then re-enacted and filmed by the way-station staff, and after viewing it the visitors move on to the next level of the afterlife, with only that one memory left to them.What will the newcomers choose? What will it mean? How will their choices affect the staff members? The movie takes its seemingly sentimental premise and uses it to examine how memory works selectively to interpret our loves to ourselves."I expect the total transformation of their lives the moment they get on the bus," declares a Manhattan tour bus guide named Timothy (Speed) Levitch, in a weirdly infectious new documentary by Bennett Miller named "The Cruise." Levitch clears about $200 a week improvising into the microphone as he conducts tours, or "cruises," informing and amazing his Gray Line passengers with such information as, "You are five blocks from where Dorothy Parker died of alcoholism and despair."Levitch is a cast-iron original, with his adenoidal voice, blinding sports coats, unruly mane of curly hair and flat-footed gait. He seems utterly confident about who he is and what he does, but an oddness creeps in, and we suspect there's more to the story. He seems to be projecting his entire psyche onto the city and the tour.Here he is on architecture: "I identify with the anger and inferiority that some of the smaller buildings feel." Louis Sullivan's terra cotta Manhattan skyscraper is, he feels, orgasmic, and he describes its sex life in detail. Of the Brooklyn Bridge, he says, "Eleven people have jumped off this bridge and survived. One of my cruising dreams would be to get those people together on a cruise."He became a tour guide, he explains, "to meet and seduce women." That's why he rebels at the requirement that he wear the Gray Line's official uniform, a red shirt: "You are not ever gonna get lucky in a red shirt."