Nothing here deserves to be characterized as morbid. Indeed, quite the opposite.
An interview with John Krasinski, star and director of "The Hollars."
Reviews from Sundance on world premiere titles "The Hollars," "Love & Friendship" and "Ali & Nino."
A column on the latest Blu-ray and DVD releases, including "The Visit," "Sicario," "The Look of Silence," "Bone Tomahawk" and "Lady Snowblood."
An interview with "Bone Tomahawk" actor Patrick Wilson.
What should be nominated for Emmys this year? Let us guide the way.
A guide to the best new releases on Blu-ray and DVD, including Nightcrawler, John Wick, Dear White People, Force Majeure, and more.
When critics dare to break with critical consensus; Best DVDs and Blu-rays of 2014; Ava DuVernay responds to "Selma" controversy; Top 10 Films of 2014; Melbourne's homeless get free entry to movies.
The best television programs of 2014.
A review of the new HBO mini-series "Olive Kitteridge" with Frances McDormand and Richard Jenkins.
Marie writes: The unseen forces have spoken! The universe has filled a void obviously needing to be filled: there is now a font made entirely of cats. Called Neko Font (Japanese for "cat font") it's a web app that transforms text into a font comprised of cat pictures. All you need to do is write something in the text box, press "enter" on your keyboard and Neko Font instantly transforms the letters into kitties! Thanks go to intrepid club member Sandy Kahn for alerting the Ebert Club to this important advancement in typography. To learn more, read the article "There is now a font made entirely of cats" and to test it out yourself, go here: Neko Font. Meanwhile, behold what mankind can achieve when it has nothing better to do....
Marie writes: As some of you may have heard, a fireball lit up the skies over Russia on February 15, 2013 when a meteoroid entered Earth's atmosphere. Around the same time, I was outside with my spiffy new digital camera - the Canon PowerShot SX260 HS. And albeit small, it's got a built-in 20x zoom lens. I was actually able to photograph the surface of the moon!
(click to enlarge)
So says professional killer Jackie Cogan at one point in Killing Them Softly, the third film by New Zealander Andrew Dominik - and considering the filmmaker's efforts to establish a connection between the events in the movie and the economic crisis started in the late 2000s thanks to the greed and lack of scruples of Wall Street, it is easy to see Cogan as an ordinary employee of any company complaining about the lack of vision of his bosses and, on the other hand, the big bankers as Armani-dressing versions of the violent mobsters who inhabit the crime section of the newspapers. More than that: fearful due to the financial disaster caused by their colleagues in Wall Street, the bad guys presented by Dominik are miles away from those gangsters who used to throw hundred dollar bills on the ground or distribute tips in exchange of a smile; instead, here they need to haggle prices with professional killers and negotiate with theirs superiors before approving a sum of a thousand dollars for framing someone.
Marie writes: According to the calendar, summer is now officially over (GASP!) and with its demise comes the first day of school. Not all embrace the occasion, however. Some wrap themselves proudly in capes of defiance and make a break for it - rightly believing that summer isn't over until the last Himalayan Blackberry has been picked and turned into freezer jam!
Marie writes: It's official. I have died and gone to heaven. For here below, as part of an ongoing series exploring Britain's architectural wonders, the Observer's architecture critic Rowan Moore, introduces a spectacular interactive 360-degree panoramic photograph of "The grand staircase in the St Pancras Renaissance hotel" - which I regard as one of the most beautiful pieces of architecture I have ever seen. I adore this building and always will; it's the stuff of dreams. (Click photo to enlarge.)
Go here to explore a 360 panoramic view of the grand staircase!
Marie writes: many simply know her as the girl with the black helmet. Mary Louise Brooks (1906 - 1985), aka Louise Brooks, an American dancer, model, showgirl and silent film actress famous for her bobbed haircut and sex appeal. To cinefiles, she's best remembered for her three starring roles in Pandora's Box (1929) and Diary of a Lost Girl (1929) directed by G. W. Pabst, and Prix de Beauté (1930) by Augusto Genina. She starred in 17 silent films (many lost) and later authored a memoir, Lulu in Hollywood."She regards us from the screen as if the screen were not there; she casts away the artifice of film and invites us to play with her." - Roger, from his review of the silent classic Pandor's Box.
Marie writes: Belgium club member Koen Van Loocke has submitted the following and it's so awesome, I have no words. But first, background..The Cinematic Orchestra is led by composer/programmer/multi-instrumentalist Jason Swinscoe, who formed his first group "Crabladder" in 1990 while a Fine Arts student at Cardiff College. The group's fusion of jazz and hardcore punk elements with experimental rhythms, inspired Swinscoe to further explore the musical possibilites and by the time the group disbanded in the mid-'90s, he was playing DJ at various clubs and pirate radio stations in and around London.
Marie writes: I love photography, especially B/W and for often finding color a distraction. Take away the color and suddenly, there's so much more to see; the subtext able to rise now and sit closer to the surface - or so it seems to me. The following photograph is included in a gallery of nine images (color and B/W) under Photography: Celebrity Portraits at the Guardian."This is one of the last photographs of Orson before he died. He loved my camera - a gigantic Deardorff - and decided he had to direct me and tell me where to put the light. So even in his last days, he was performing his directorial role perfectly, and bossing me around. Which was precious." - Michael O'Neill
Orson Welles, by Michael O'Neill, 1985
Marie writes: At first you think you're looking at a photograph. Then the penny drops, along with your jaw..."Alan Wolfson creates handmade miniature sculptures of urban environments. Complete with complex interior views and lighting effects, a major work can take several months to complete. The pieces are usually not exact representations of existing locations, but rather a combination of details from many different locations along with much of the detail from the artist's imagination. There is a narrative element to the work. Scenarios are played out through the use of inanimate objects in the scene. There are never people present, only things they have left behind; garbage, graffiti, or a tip on a diner table, all give the work a sense of motion and a storyline. Alan's miniature environments are included in art collections throughout the US and Europe." - Alan Wolfson - Miniature Urban Sculptures
"FOLLIES BURLESK" (1987)14 1/4 x 19 1/4 x 21 1/2 inches(click images to enlarge)
It's a wrap for the 2010 Muriel Awards, but although the winners have been announced, there's still plenty of great stuff to read about the many winners and runners-up. ('Cause, as we all know, there's so much more to life than "winning.") I was pleased to be asked to write the mini-essay about "The Social Network" because, no, I'm not done with it. (Coming soon: a piece about the Winkelvii at the Henley Gregatta section -- which came in 11th among Muriel voters for the year's Best Cinematic Moment.)
You might recall that last summer I compared the editorial, directorial and storytelling challenges of a modest character-based comedy ("The Kids Are All Right") to a large-scale science-fiction spectacular based on the concept of shifting between various levels of reality/unreality -- whether in actual time and space or in consciousness and imagination. (The latter came in at No. 13 in the Muriels balloting; the former in a tie for No. 22.) My point was that, as far as narrative filmmaking is concerned, there isn't much difference. To illustrate a similar comparison this time, I've used a one-minute segment out of "The Social Network" (Multiple levels of storytelling in The Social Network). You might like one picture better than the other for any number of reasons, but I find their similarities more illuminating than their differences:
So, did you like what you got for Christmas..?
This is a special free sample of the Newsletter members receive weekly. It contains content gathered from several past issues and reflects the diversity of what you'll find inside the Ebert Club. For Roger's invitation to the Club, go HERE.
"There is a stubbornness about me that can never bear to be frightened at the will of others. My courage always rises with every attempt to intimidate me." - Jane Austen, Pride and Prejudice
Actress Jill Clayburgh, whose portrayal of women in the 1970s helped define and and reshape the role of leading lady, died last week of chronic lymphocytic leukemia at her home in Lakeville, Connecticut; she was 66. She's best known for her Academy Award nominated roles in "An Unmarried Woman" (Winner: Best Actress Cannes 1978) and "Starting Over." Roger has remembered her on his site: Jill Clayburgh: In Memory.
Two men are in conflict in a stunning sub-Arctic landscape in "How I Ended This Summer," the Russian drama by Aleksei Popogrebsky that won the Gold Hugo, the top prize in the 46th Chicago International Film Festival.
"There is sin and evil in the world, and we're enjoined by Scripture and the Lord Jesus to oppose it with all our might. Our nation, too, has a legacy of evil with which it must deal." -- Ronald Reagan, in the 1983 "Evil Empire" speech, quoted in Matt Reeves' "Let Me In"
It was the pre-nuclear winter of our discontent. The Cold War was at its coldest since the Cuban Missile Crisis. Jonathan Schell's 1981 New Yorker series about the catastrophic climatic effects of a full-scale nuclear war became a best-selling book, "The Fate of the Earth," in 1982. By 1983, with the escalation in rhetoric between Ronald Reagan and Soviet leaders, movies like Lynne Littman's "Testament" and Nicholas Meyer's "The Day After" -- one a bleak art-house drama; the other a network television nightmare -- were dealing seriously with the prospect of American life in the wake of atomic armageddon, as if to prepare us for the inevitable.
It was one of the darkest periods in modern American history (being too young to remember the Cuban Missile Crisis, I recall only the aftermath of 9/11and the invasion of Iraq with comparable feelings of doom). And the snowy, barren landscapes of (where else?) Los Alamos, New Mexico, provide the Americanized setting for Matt Reeves' "Let Me In," a remake of Tomas Alfredson's magnificent Swedish horror film, Let the Right One In" (2008).
• Bill Stamets and Roger Ebert
The 46th Chicago International Film Festival will play this year at one central location, on the many screens of the AMC River East 21, 322 E. Illinois. A festivalgoers and filmmakers' lounge will be open during festival hours at the Lucky Strike on the second level. Tickets can be ordered online at CIFF's website, which also organizes the films by title, director and country. Tickets also at AMC; sold out films have Rush Lines. More capsules will be added here.