In Memoriam 1942 – 2013 “Roger Ebert loved movies.”


The Good Dinosaur

A film that has some promising elements and which often seems as if it is on the verge of evolving into something wonderful but never…


The Danish Girl

The Danish Girl lacks an immediacy and vibrancy, as well as a genuine sense of emotional connection.

Other Reviews
Review Archives

Ballad of Narayama

"The Ballad of Narayama" is a Japanese film of great beauty and elegant artifice, telling a story of startling cruelty. What a space it opens…


Monsieur Hire

Patrice Leconte's "Monsieur Hire" is a tragedy about loneliness and erotomania, told about two solitary people who have nothing else in common. It involves a…

Other Reviews
Great Movie Archives
Other Articles
Blog Archives

Cast and Crew

* 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.

Toronto #5: Great performances, strong stories


TORONTO, Ont. -- I don’t know when I’ve heard a standing ovation so long, loud and warm as the one after Jason Reitman’s “Juno,” which I predict will become quickly beloved when it opens at Christmas time, and win a best actress nomination for its 20- year old star, Ellen Page.

Continue reading →

The fillet of fests

"Junebug" director (and still photographer!) Phil Morrison at the Overlooked. (Photo by Jim Emerson)

At several moments during the Eighth Overlooked Film Festival, I thought I had been transported to a time in which the greatest artists of the movies were not only familiar to all, but properly and enthusiastically appreciated and revered. That such a time would be in the spring of 2006 kind of threw me for a loop, but this was a festival in which (I swear) the two most commonly (and reverently) invoked cinematic influences were not Eli Roth and Quentin Tarantino but Robert Bresson ("Pickpocket," "Au Hasard Balthazar," "Lancelot du Lac," "L'Argent") and Yasujiro Ozu ("Tokyo Story," "Late Spring," "Early Spring," "Floating Weeds"). Not that any of the young filmmakers at the Overlooked were trying to claim their work was on par with these cinematic masters, but you could tell from their films that Ozu and Bresson really mean something to these guys, their influences genuinely and thoroughly absorbed into the cinematic sensibilities of another generation. It gave me hope for the future of movies as something more than a commodity.

Continue reading →

Overlooked Film Festival, Take 8


Some films are born overlooked. Others have it thrust upon them. Among this year's festival entries, "Ripley's Game" has never had a theatrical release in the United States, and "Duane Hopwood" had a release so spotty it seemed designed to hide the film. Yet these are the kinds of films a movie critic views with joy: Films that are a meeting of craft and art. Being able to share them is an incalculable pleasure; everybody should have their own Overlooked Film Festival in the glorious Virginia Theater, all the year around. You have no idea how much fun it is.

Continue reading →

Cannes coda: Why it's all worth it


CANNES, France -- Suddenly calm has descended on Cannes, like a movie without sound. The traffic has returned to sanity. Housewives stroll through the market, filling their wicker baskets with artichokes and lettuces. The awards will be announced tonight, but most of the buyers and sellers and big shots have already flown out of the Nice Airport, and the festival is left in the custody of its most faithful guests: The press, the cineastes, the paparazzi and the fans.

Continue reading →