Filmmaker Mike Leigh's biography of the landscape painter J.M.W. Turner is what critics call "austere"—which means it's slow and grim and deliberately hard to love—yet…
* 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.
The legacy of "Empire Records"; BuzzFeed's secret weapon; A thousand years of the Persian book; Female characters in film; The Persona of 3 Women on Mulholland Dr.
The writers of RogerEbert.com reflect on the life, career and death of Robin Williams.
An appreciation of the life and work of the legendary producer Menahem Golan.
A feature that examines Shout Factory's amazing "Herzog: The Collection" film by film.
Sheila writes: Author John le Carré wrote a gorgeous and painful reminiscence of Philip Seymour Hoffman in the New York Times. Le Carre wrote, in part: "... His intuition was luminous from the instant you met him. So was his intelligence. A lot of actors act intelligent, but Philip was the real thing: a shining, artistic polymath with an intelligence that came at you like a pair of headlights and enveloped you from the moment he grabbed your hand, put a huge arm round your neck and shoved a cheek against yours; or if the mood took him, hugged you to him like a big, pudgy schoolboy, then stood and beamed at you while he took stock of the effect."
Author Peter Biskind revisits four auteurs from the '70s--Steven Spielberg, Martin Scorsese, Roman Polanski, and Terrence Malick.
A piece by contributor Matt Fagerholm that connects "Prairie Home Companion," "Synecdoche, New York," and "Life Itself" in the sweet by and by.
On June 21, 2014, “Life Itself” opened the Hamptons Film Festival at Guild Hall in East Hampton, New York. RogerEbert.com publisher Chaz Ebert and editor-in-chief Matt Zoller Seitz were guests at the event and participated in a post-screening Q&A with Alec Baldwin and Hamptons Film Festival artistic director David Nugent afterward.
The latest and greatest additions to streaming services like Netflix, Amazon, and more.
This is a book excerpt from Make Art Make Money: Lessons from Jim Henson on Fueling Your Creative Career by Elizabeth Hyde Stevens.
The 67th Cannes Film Festival kicks off with an original, adventurous and beautiful film from the great Mike Leigh.
Sheila writes: In 1968, Stanley Kubrick, whose game-changing "2001" was released that year, was interviewed for Playboy magazine. You can check out a facsimile of the interview here, but Open Culture has transcribed some of it, in particular the section where Kubrick gives some predictions on what the world will look like in the year 2001. It's fascinating speculative stuff.
A career-view of the Coen brothers; Movie app shuts down; Nymphomaniac is not pornography; Cyberpunk renaissance forming; Negative take on No Country for Old Men.
A career view on Bill Murray; Personally connecting to Her; An editor from The New Yorker waxes poetic on aging, intimacy and death; Long takes on television; and a Hollywood desert land.
Walter Biggins defends Armond White, the City Arts critic and editor who was recently expelled by the New York Film Critics Circle, as a provocative but necessary voice in movie criticism.
A survey of selected films available now on Blu-ray.
Dan Callahan looks at the career of Alfre Woodard.
Karen Black, who died Aug. 7 at 74, was the “what the hell?” emblem of the American New Wave, its most extreme, improvisational player, its most unusual, unaccountable, unstable presence.
In a Q&A with an audience for the new film "Still Mine," James Cromwell discusses everything from the Bush family to his first nude scene.
On Trayvon and Questlove and feminism and racism; why the American right hates Detroit; Elliott Gould tells tales out of school; why somebody should adapt Stephen King's 'The Long Walk.'
Part 4 of "Cut to Black," a videotaped roundtable discussion about the end of The Sopranos and the future of television drama. Participants include RogerEbert.com editor and New York Magazine TV critic Matt Zoller Seitz, Huffington Post TV critic Maureen Ryan, A.V. Club TV critic Ryan McGee, and previously.tv contributor Sarah D. Bunting. Shot and edited by Dave Bunting, Jr.
You'll probably despise the main characters in the coldly lavish new South Korean film "The Taste of Money" (2012). I was about to describe them as belonging to the top 1%, but given how shallow and hateful these people are, I think it would be more accurate to say "the bottom 0.01%." They're a plutocratic family at the very top of South Korean society. They run a big, influential conglomerate like Samsung and LG (which are also family businesses at their core). They can buy and do anything because of their wealth and the power which comes with it. In their view, they deserve to be called VVIPs, or very, very important people.
August, 2012, marks the 20th anniversary of the debut of "The Larry Sanders Show," episodes of which are available on Netflix Instant, Amazon Instant, iTunes, and DVD. This is Part 2 of Edward Copeland's extensive tribute to the show, including interviews with many of those involved in creating one of the best-loved comedies in television history. Part 1 (Ten Best Episodes) is here.
"Unethical? Jesus, Larry. Don't start pulling at that thread; our whole world will unravel." -- Artie (Rip Torn)
by Edward Copeland
Unravel those threads did -- and often -- in the world of fictional late night talk show host Larry Sanders. On "The Larry Sanders Show," the brilliant and groundbreaking HBO comedy that paid attention to the men and women behind the curtain of Sanders' fictional show, the ethics of showbiz were hilariously skewered.
OK, this is where it really gets interesting. Forget the consensus Top 50 Greatest Movies of All Time; let's get personal. Sight & Sound has now published the top 250 titles in its 2012 international critics poll, the full list of more than 2,000 movies mentioned, and all the individual lists of the 845 participating critics, academics, archivists and programmers, along with any accompanying remarks they submitted. I find this to be the most captivating aspect of the survey, because it reminds us of so many terrific movies we may have forgotten about, or never even heard of. If you want to seek out surprising, rewarding movies, this is a terrific place to start looking. For the past few days I've been taking various slices at the "data" trying to find statistical patterns, and to glean from the wealth of titles some treasures I'd like to heartily recommend -- and either re-watch or catch up with myself.
I know we're supposed to consider the S&S poll a feature film "canon" -- a historically influential decennial event since 1952, but just one of many. I don't disagree with Greg Ferrara at TCM's Movie Morlocks ("Ranking the Greats: Please Make it Stop") when he says that limiting ballots to ten all-time "best" (or "favorite," "significant," "influential" titles is incredibly limiting. That's why I think perusing at the critics' personal lists, the Top 250 (cited by seven critics or more) and the full list of 2,045 films mentioned is more enjoyable pastime.
It's wise to remember that, although the top of the poll may at first glance look relatively conservative or traditional, there's a tremendous diversity in the individual lists. Even the top vote-getter, "Vertigo," was chosen by less than one quarter of the participants.