The Grand Budapest Hotel
As much as "The Grand Budapest Hotel" takes on the aspect of a cinematic confection, it does so to grapple with the very raw and,…
* 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.
What were the surprises, snubs and twists of today's Oscar nominations?
The first recipients of the Sundance Institute's Roger Ebert Scholarship for Film Criticism make their debut at the Sundance Film Festival.
Matt Zoller Seitz's Top 10 films of 2013.
Missing Roger's Oscars prognostications and his top ten lists. And making a list of my own.
The Oscars race has hit a holiday lull. It's a good time to pause and take stock of nominations.
Help finish "Life Itself," the documentary about Roger Ebert.
Critics groups from around the country are giving awards. What impact do these awards have on the Oscar race, and how useful are they as predictors?
Critics Christy Lemire, Sheila O'Malley and Susan Wloszczyna talk about 1980s cult film "Ms. 45" on the occasion of a re-release.
Erik Childress looks at the first awards of the season and their possible impact on the Oscar race.
A survey of the career of James Gandolfini.
More details on the Sundance Institute's Roger Ebert Scholarship for Film Criticism and our plans for more awards to new writers.
At their big D23 Expo event, Disney unleashed some stars and a lot of tantalizing info about live action films.
Marie writes: Behold an ivy covered house in Düsseldorf, Germany and the power of plants to transform stone, brick and mortar into a hotel for millions of spiders. To view an amazing collection of such images and showcasing a variety of buildings from around the world, visit The Most Colorful Houses Engulfed in Vegetation at io9.com.
If we said there was a clear throughline from "Bonnie and Clyde" and Richard Donner's "Superman: The Movie," you'd say we were crazy, right? Get ready to eat your words as we prove once again that showbiz works in mysterious ways.
At a beautiful and moving event Wednesday evening, the Sundance Institute honored Roger Ebert's memory and also honored young filmmaker Ryan Coogler. It was an evening for remembering, but also for making sure that Roger's legacy goes on; the Sundance Institute announced the Roger Ebert Scholarship for Film Criticism to nurture young critics at the Sundance Film Festival.
From the Sundance Institute:
Los Angeles, CA — Last night, Wednesday, June 5, the third annual ‘Celebrate Sundance Institute’ benefit in Los Angeles honored the life and work of beloved journalist and film critic Roger Ebert with the Vanguard Leadership Award in Memoriam. The event also honored filmmaker Ryan Coogler – whose debut feature film, Fruitvale Station, was selected for Sundance Institute's Screenwriters Lab and went on to win both the Grand Jury Prize and the Audience Award at the 2013 Sundance Film Festival – with the Vanguard Award, Presented by Tiffany & Co.
Robert Redford braves the high seas alone in the shipwreck drama "All Is Lost."
Marie writes: Now this is something you don't see every day. Behold The Paragliding Circus! Acrobatic paragliding pilot Gill Schneider teamed up with his father’s circus class (he operates a school that trains circus performers) to mix and combine circus arts with paragliding - including taking a trapezist (Roxane Giliand) up for ride and without a net. Best original film in the 2012 Icare Cup. Video by Director/Filmmaker Shams Prod. To see more, visit Shams Prod.
Hollywood and indie film directors, actor John Cusack, actor Chris Tucker, comedian and philanthropist Dick Gregory, former Playboy chair Christie Hefner and the president of Sony Pictures Classics, and the lead critics from Variety, The Hollywood Reporter, and the Chicago Film Critics Association, will join other celebrities, friends and colleagues to pay tribute to iconic film critic Roger Ebert’s life and prolific career at “Roger Ebert: A Celebration of Life,” this Thursday, April 11, at 7 p.m. at the Chicago Theatre, 175 N. State St.
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)
July 5th, 1981
The 1st Annual Sundance Festival
By Roger Ebert
Robert Redford's experiment: a struggle for independents
Sundance, Utah--Up here above Provo, in the resort he has carved out of a little mountain meadow, Robert Redford is conducting an experiment that Hollywood regards with a mixture of suspicion and curiosity. He has selected 10 low-budget films that are in the middle-to-late stages of preparation and invited their directors to spend the summer at Sundance working on their scripts in the company of established directors, writers and editors.
On the surface, this seems like an admirable and uncomplicated idea, a cinematic summer camp at which you bring home a screenplay instead of a woodcarving and an Indian belt. But the movie industry is not so sure. Rumors float around that Redford is starting his own studio, that his dream is to be a major producer of independent features, that just as Francis Ford Coppola wants his own major Hollywood studio, so does Redford want his own mini-¬studio here on the mountain he is developing.
The truth is apparently somewhere in be¬tween. Redford says he has no desire to produce personally any of the movies that are under construction at Sundance. But he might hope that eventually the Sundance Institute, a non¬profit foundation headquartered here, will be¬come a clearinghouse for independent film¬makers working outside the studio system. There are countless summer writers' workshops nestled away in the wilds of Vermont and Iowa - why not a workshop for filmmakers?
There is one difference: The filmmakers at Sundance did not pay to attend. After their projects were selected from more than 100 entries, they were invited to settle down in residence here at the expense of Redford's institute and several foundation grants. The facilities are spartan. The filmmakers are guests in several condo-cabins squirreled away in the hills above Sundance. Meals are served buffet¬-style in the small lodge building, and movies are scrutinized in a garage that has been converted into a screening room. There are videotape facilities at Sundance, and some of the film¬makers are conducting trial runs of their mate¬rial by taping some of their scenes.
None of the footage shot at Sundance will turn up in the finished films. It's all preparation, rehearsal and deep thought up here, reflecting Redford's personal belief that independent fea¬tures will not make greater inroads at the American box office until they are (hold your breath) of higher quality.
This is probably true. Most independent American films are made on very low budgets (from a rock bottom of $20,000 for "The Whole Shootin' Match", through a middle range, of $75,000 for "Return of the Secaucus Seven", up to a high of $1.2 million for "Heartland"). Most of them lack well-known actors, although very occasionally a famous actor will lend himself to a project. Most of them have limitations on locations, special effects, costumes, period de¬tails and scenery - because film is the most expensive art form except for grand opera.
But most of all, Redford believes, most of them could benefit from more intensive pre¬production work - things like script revision, close analysis of the story, and an occasional pointed question about the worth of it all. Because independent filmmakers are often the only people who believe in their projects (or even care about them), they are sometimes inclined to treat a film as a crusade rather than as a work in progress.
This first summer at Sundance is highly tentative. Redford and his associates say they are uncertain about exactly what they hope for from the experiment. "We started this with no rigid expectations," Redford said over lunch in his small office at Sundance. "They say I'm starting my own studio, I'm challenging the studios... Actually, I have no idea what this will turn out to be. I know that it's getting increasingly hard to get a movie well distributed in this country unless it has the potential to make millions of dollars. I think these projects here have a lot of promise, and I guess the idea is that they'll turn out better if the filmmakers have the opportunity to work on them with some experienced professionals."
Independent filmmakers got a boost here in Utah three years ago with the founding of the U.S. Film and Video Festival, which is held every January in another ski resort, Park City, and specializes in independently produced fea¬tures. Now maybe Sundance will help generate independent films to be shown at Park City.
The problem, however, is not getting a new low-budget movie shown in Park City. The problem is getting it shown anywhere else. Two weeks ago, as part of his summer-long institute, Redford held a weekend conference of most of the major exhibitors and distributors of "specialized" films - a category that includes independent U.S. features, foreign films, "art films," cult films, revivals and almost anything else that isn't a big-budget, first-run standard Hollywood production.
Most of the independent exhibitors and dis¬tributors accepted Redford's invitation, and it was astonishing, seeing them all together in the same place, to realize how few of them there were. The big studios and the big movies dominate play dates on most of the nation's movie screens, and there are only a handful of houses in most cities that will even consider booking a "specialized" film. Some 45 theater owners, bookers and distributors sat in the bright sunlight in the meadow at Sundance and agreed, almost without discussion, that:
-There are only seven or eight cities in North America in which a "specialized film" can get a decent booking and have any chance of a good run. They are New York, Boston, Washington, Chicago, Toronto, Los Angeles, San Francisco and, surprisingly, Seattle, which is the best city in the country to open a movie that's out of the ordinary.
-College campuses used to supply large audi¬ences for foreign, art and underground movies, but these days the kids go for action blockbust¬ers like "The Empire Strikes Back", just like everybody else.
-Big chains are completely uninterested in booking offbeat films. Like supermarkets, they're concerned only with the turnstile. Chains with four- or six-screen multiplex the¬aters don't even consider booking one of the screens with specialized films.
-Unless it's a rare breakthrough like "La Cage Aux Folies", foreign films are up against a wall at the American box office. There are only about 100 theaters in America that will book a serious, subtitled film, even if it's by Ingmar Bergman or Federico Fellini.
-There is still a market for specialized films among local and campus film societies, but the backbone of that market, rental of movies in 16-mm. prints, is being under-minded by the widespread and illegal practice of videotaping movies and then showing them on video cas¬settes instead of renting them again. (Almost every campus in the country rips off films that way, it was agreed; even, though they're break¬ing the law.)
-Exhibitors talked about the "strong want¬-to-see" factor that fuels blockbuster hits like "Superman II", contrasting it with the curious "desire not to see" that handicaps specialized films. The average moviegoer is under 25. Ten or fifteen years ago, young moviegoers were more enthusiastic about offbeat, anti-establishment independent and foreign films. Now they are much more conformist. More sophisticated big-¬city teen-agers who once attended films by Jean-Luc Godard have now regressed to the level of "Friday the 13th, Part II". Today's young filmgoers have a herd instinct and are reluctant to take a chance. In a sense, they "wear" movies like they wear clothes, attend¬ing a movie that their fashion-sense suggests will look good on them.
The outlook, everyone agreed, was gloomy. Various alternatives looked just as, gloomy. Public television stations like New York's WNET have attracted large audiences for prime-time telecasts of quite esoteric indepen¬dent films, but TV exposure, an exhibitor complained, removes the aura of a "special event" that a movie must have for a theatrical booking.
The brightest ray of hope at Sundance came from Seattle, where there are 13 theaters successfully showing specialized films. (By contrast. Chicago has only two first-run houses, the Biograph and the Sandburg, two showcase operations in Facets and the Film Center, occasional specialized bookings at the Three Penny, and several reper¬tory theaters.) Seattle used to be a lousy town to open an art film - everyone agreed - and the secret to its success was creative exhibition. Audiences were lovingly nurtured, leafleted, mailing-listed and cajoled. Lacking effective coming-attractions trailers, some exhibitors sim¬ply got up with a microphone and told their audiences what was coming next week, and what they thought about it.
No firm conclusions were reached at Sun¬dance. Various visionary schemes were suggest¬ed to establish a national support network for independent features - but without a steady supply of good movies in the pipeline, it would have trouble supporting itself. Success stories were recited about the few breakthrough films like "Secaucus Seven", "A Woman Under the Influence", "Penitentiary", "Gal Young Un" and a handful of foreign hits. Everyone agreed that if there were more good films, there would be larger audiences. But statements like that tend¬ed to lead into winsome silences.
Meanwhile, up in the hills in their cabins, Sundance's filmmakers-in-residence were work¬ing on their scripts. They were consulting every day with experienced professionals such as director Sidney Pollack ("They Shoot Horses, Don't They?"), screenwriter Waldo Salt ("Midnight Cowboy"), cinematographer Caleb Des¬chanel ("The Black Stallion") and actress Amy Robinson ("Mean Streets"). Would 10 really fine independent films come from their labors? Maybe. Maybe five. At least it is a noble experimentt ¶
I was there before the Beginning, in January 1981, for the third annual Park City Film and Video Festval. I wrote Sundance before it was Sundance .
Marie writes: And so it begins! A new year and another season of Film Festivals and Award shows. The Golden Globes have come and gone and in advance of quirky SXSW, there's Robert Redford's Sundance 2013...
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!
"A man can be an artist ... in anything, food, whatever. It depends on how good he is at it. Creasey's art is death. He's about to paint his masterpiece." -- Rayburn (Christopher Walken), "Man on Fire" (2004)
While I've never been a fan of the late Tony Scott or Christopher Nolan, a few thoughtful articles in recent days have helped me see them in new lights, and got me to thinking about their resemblances as well as their dissimilarities. Several appreciations of Scott (especially those by Ignatiy Vishnevetsky, Bilge Ebiri, David Edelstein and Manohla Dargis), along with David Bordwell's incisive essay on Christopher Nolan ("Nolan vs. Nolan") got me to thinking about the common assumptions about these popular filmmakers, both of whom are known for quick, impressionistic imagery, intercut scenes, slam-bang action and a CGI-averse insistence on photographing the real world.¹ Regardless of what you ultimately make of their work, there's no question they've done it their way.
This is an attempt to look at both filmmakers through the prism of others' points of view, refracted in critical appraisals like the above.
Of course, Scott and Nolan have passionate admirers and detractors. Until Scott's shocking suicide last week (from a bridge, a landmark that figures hauntingly in the climaxes of several of his movies), I wasn't aware of many critics who championed his movies, but with a few exceptions the obits seem to have been more admiring than the reviews over the years -- understandably, under the sad circumstances.
Those who applaud Scott and Nolan's films see them as genre boundary-pushers (thrillers, action pictures, science-fiction, superhero movies); those who denigrate them see them as symptomatic of the debasement of resonant imagery in modern Hollywood movies. Both have been subjected to that worst of all critical insults, comparisons to Michael Bay:
"'Inception' may have been directed by Christopher Nolan, but Nolan's dreams are apparently directed by Michael Bay." -- Andrew O'Hehir, "Inception: A clunky, overblown disappointment"
"If it sounds like I'm describing Michael Bay, that's because I sort of am. What we like to think of today as the Bay/Jerry Bruckheimer aesthetic was, in fact, originally the Tony Scott aesthetic (often deployed in films made for Bruckheimer and his late partner Don Simpson). Only back then there was a lot more art to it." -- Bilge Ebiri, "To Control Something That's Out of Control: On Tony Scott"
One of Scott's notable defenders has been The New York Times' Manohla Dargis. She identifies him as a "maximalist" who used "a lot of everything in his movies: smoke, cuts, camera moves, color. This kind of stylistic, self-conscious excess could be glorious, as in his underappreciated film 'Domino' (2005)," which Roger Ebert also somewhat grudgingly admired, quoting a character to describe the movie itself as having "the attention span of a ferret on crystal meth." Dargis writes:
You may find it disturbing to see audiences laughing while watching "The Exorcist"(1973), but you will probably not see any problem in having some laugh with "Rosemary’s Baby" (1968). It goes without saying that they are two of the most chilling modern horror films, but, while the former unsettles us with its utmost solemnness parodied many times since it came out, the latter has a spooky sense of humor immune to parodies. How can you make an effective parody to undermine a horror film if it already has a devilish tongue slyly placed on its dark cheek?