A heist film populated almost entirely by dunderheads; very funny.
* 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.
A tribute to the late comedy mastermind, Garry Marshall.
A look back at Michael Mann's "Ali."
The latest and greatest on Blu-ray and DVD, including Room, The Big Short, Carol, and many more.
An overview of the films that will be theatrically released in the 2015 fall season.
A report from the 2015 Sun Valley Film Festival.
A personal recap of the 2015 Critics Choice Movie Awards.
An excerpt from "Tom Cruise: Anatomy of An Actor."
Oliver Stone will never give up. "Under the Skin" star on stigmas; Ron Howard reflects on his career; "Breaking the Waves" arrives on Blu-ray; A look back at "National Velvet."
The Producers Guild, the Writers Guild and the Directors Guild have all weighed in. How good are they as predictors of the Oscars?
An exhaustive list of Top 10s by RogerEbert.com contributors.
Shutdown blues; "El Paso" in the "Breaking Bad" finale; reconsidering Ron Howard; All Female Directors for "Call the Midwife"; reconsidering films is part of growing up. Plus: Senator Elizabeth Warren is as awesome as ever.
Film Journalist Katherine Tulich interviews "Rush" director Ron Howard and the film's stars, Chris Hemsworth and Daniel Brühl.
Extraterrestrial life may really exist; House Republicans slash billions in food stamps; "Invisible Man" banned in North Carolina; an object of Internet ridicule speaks; Hollywood luminaries who got their start with Roger Corman.
Marie writes: Ever intrepid, club member Sandy Kahn has submitted an intriguing quartet of finds involving a series of Hollywood auctions set to begin at the end of July 2013. Sandy has shared similar things in the past and as before, club members are invited to freely explore the wide variety of collectibles & memorabilia being auctioned LIVE by "Profiles in History". Note: founded in 1985 by Joseph Maddalena, Profiles in History is the nation’s leading dealer in guaranteed-authentic original historical autographs, letters, documents, vintage signed photographs and manuscripts.
Words, images and videos worth knowing about.
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.
David Carr interviewed A.O. Scott on the subject of movie criticism in a "Sweet Spot" video posted on the New York Times' ArtsBeat blog last Friday. I urge you to follow that link, watch the seven-and-a-half-minute conversation and let me know what you make of it. Carr plays the clown, but I'm not sure how much of it is intentional because most of what he says is so ignorant, and he doesn't even attempt to support it or invest thought in the conversation. Scott, as you know if you read him regularly, is quite eloquent and calls bullshit on some of Carr's more outrageous fabrications.
To help pin down my own thoughts (following up on years of writing about this very subject, including a series of recent posts and comment threads -- "Avenge me! AVENGE ME!," "The Avengers & the Amazing 'Critic-Proof' Movie," "Continuing to argue for the irrelevance of my own opinions," "Cannes and Cannes-not: On being a movie geek"), I've tried to label the various formal and informal fallacies of logic at play here, and link to Wikipedia definitions of them. Of course there are so many (in the conversation and in the list on Wikipedia) that I may have mislabeled some, in which case please let me know.
So, it begins:
"Corman's World: Exploits of a Hollywood Rebel" is available March 27 on online outlets via iTunes, Vudu, CinemaNow and Amazon. Also on DVD and Blu-ray.
For B-movie buffs, exploitation film aficionados, and midnight movie cultists, the grand finale of "Corman's World: Exploits of a Hollywood Rebel," will be every bit as exhilarating as that montage of forbidden kisses at the end of "Cinema Paradiso." Taking its cue from the liberating, rebellious high point of the Roger Corman-produced "Rock and Roll High School," in which P. J. Soles and the Ramones rock the hallways of Vince Lombardi High, it offers up dizzying bursts of quintessential Corman: cheesy monsters, fiery car explosions, Vincent Price, blaxploitation kickass, marauding piranhas and Mary Woronov with a gun.
Alex Stapleton's "Corman's World" celebrates the singular cinematic legacy of the "King of the Bs," who has improbably and regretfully fallen into obscurity. Observes director Penelope Spheeris ("The Boys Next Door," "The Decline of Western Civilization Part II: The Metal Years," "Wayne's World"): "If you ask a 20-25-year-old film buff, they won't know who he is."
This despite a career that spans almost 60 years and more than 400 films that Corman either directed or produced. But while his own name may be unfamiliar, many of the once-fledgling actors and filmmakers whom he nurtured/exploited are not: Martin Scorsese ("Boxcar Bertha"), Ron Howard ("Grand Theft Auto"), Peter Bogdanovich ("Targets"), Jonathan Demme ("Caged Heat"), Joe Dante ("Piranha"), Robert DeNiro ("Bloody Mama"), Pam Grier ("The Big Doll House"), screenwriter John Sayles ("The Lady in Red") -- all these and many more appear in "Corman's World" in new and archival interviews.
When I was a child I was taught that it was unacceptable to call something -- a movie, a song, an activity -- "boring" because: 1) it doesn't make sense (a thing can't be boring, unless perhaps it is a drill bit; a person feels bored); and 2) it's indefensible, since the quality of "boringness" cannot be isolated or identified as an element of the thing itself; it's a feeling and it is yours).
So, saying something is "boring" is not exactly like saying something in a movie is "funny" or "moving" -- though, again, I'd prefer to place the responsibility for a response on the "feeler" rather than on the object -- because at least you can describe how something is presented or intended to be received as humorous or touching, even if you don't think it is. (Yes, there are exceptions to that, too.) I mean, a joke or a gag or an emotional situation can be objectively analyzed, but there are no agreed-upon cultural standards for evaluating "boring."¹
"Boring," I believe, is more like the word "entertaining" -- too vague to be of much use in a critical vocabulary. So, I might say I found something about a movie "tedious" or "engaging" or some other thesaurus word, but I'll attribute the emotion to myself and my taste, and even then not without a serious attempt to describe what I'm talking about, and to give at least one specific example.²
But now, "boring" is hot, at least in overheated Interwebular film criticism circles, since the publication of Dan Kois' New York Times Magazine piece called "Eating Your Cultural Vegetables," in which he says:
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. [...]
@jeeemerson god. Pretty soon we won't be able to tell a knock knock joke, for fear of hurting a doors feelings. STFU
That's an offended tweeter's response to my previous post, "The "gay" Dilemma: If it's a joke, what does it mean?" -- except that it's not really a response, exactly, since it doesn't address anything I actually, you know, said.¹ It's a tweet. Still, it expresses a fairly common attitude among those who are easily offended that others take offense to things they are not offended by: Why are people hurting my feelings by getting their feelings hurt over what I say or what I like? So, to those whose feelings have been bruised in this way, I want to say: Don't stop whining. Don't stop making it all about you. Keep on complaining that your sensibilities are being hurt because you feel that other people should not express opinions other than your own. How dare other people claim that things you honestly feel are funny are not only not funny to them, but maybe even painful or insulting!?! What if that's not even what you meant at all? Just remember, when your feelings are hurt by somebody who says you've hurt their feelings, it's all their fault for being so sensitive to what words mean and being so rude as to tell you. Blame them. You shouldn't have to accept responsibility for what you do or say or laugh at. That's just not fair!
But seriously, folks...
Several of yesterday's commenters mentioned comedic treatments of the anti-gay epithets "fag" and "faggot" on "South Park" ("The F Word") and Louis CK's series, "Louie," which is where the clip above comes from. A group of comedians are discussing the implications of using the word "faggot" in Louis's stage act. Louis asks Rick, the only gay comic at the table, if he thinks he shouldn't use the word. Rick says, "I think you should use whatever word you want... but are you interested to know what it might mean to gay men?"²
On the day after the near-mystical cosmic alignment of Columbus Day and National Coming Out Day (did the Postal Service suspend delivery on the day Columbus came out in 1492?), and the very day that a US district judge issued a worldwide injunction ordering the Department of Defense to stop enforcement of its absurd, 17-year-old "Don't Ask, Don't Tell" policy for kicking gays out of the military (best of all, the case was brought by the Log Cabin Republicans!), I have found myself reading about a stupid gay joke that's been removed from trailers for the upcoming Ron Howard comedy "The Dilemma," starring Vince Vaughn and Kevin James.
I saw the trailer in front of "The Social Network," October 1. Vaughn's character is speaking to some automotive businessmen (is this a follow-up to Howard's "Gung-Ho"?) and says: "Electric cars are gay. I mean, not homosexual, but my-parents-are-chaperoning-the-dance gay."
CNN anchor Anderson Cooper reportedly went on "The Ellen DeGeneres Show" and said he was "shocked" that Universal "thought that it was OK to put that in a preview for the movie to get people to go and see it." Universal responded by quickly pulling the scene from the trailer. No word on whether it will remain in the movie, which opens in January.
Marie writes: Club member and noted blog contributor Tom Dark took this astonishing photograph near his home in Abiqui, New Mexico. The "unknown entity" appeared without warning and after a failed attempt to communicate, fled the scene. Tom stopped short of saying "alien" to describe the encounter, but I think it's safe to say that whatever he saw, it was pretty damned freaky. It sure can't be mistaken for anything terrestrial; like a horse pressing its nose up to the camera and the lens causing foreshortening. As it totally does not look like that at all. (click to enlarge.)
This is pretty much exactly what most new indie and studio movies look like to me. Not just the Oscar-hopefuls and the Sundance selections. And not just the trailers, but the entire movies themselves (which are usually laid out, beat by beat, in the trailers). This one's funnier, though, because it doesn't pretend to be anything more than a familiar schematic diagram. Which is exactly what these comfy, risk-averse movies seem to be aiming for.
Starring Robert Pattinson or Adam Sandler, Natalie Portman or Sandra Bullock. Directed by Ron Howard or someone whose only previous work has been on YouTube.
(tip: Max Kleger)
UPDATED with more examples -- and questions -- after the jump.
Can one bad shot ruin a movie? I can't think of any examples off the top of my head -- I don't think it happens very often -- but I do believe it's possible. I'm not among those who think the final shot of Hal Ashby's "Being There" takes a marvelously sustained balancing act and kicks it to the ground. But I can understand how somebody might feel that way.
But how can just one bad decision -- maybe on screen for just a second or two -- deflate a full-length motion picture? Well, roughly the same way a pinprick in a balloon can, I guess. It can puncture the thin membrane that's sustaining the thing. Without shape and purpose, there's nothing to keep it aloft any longer.
Try thinking of a movie like a pop song. One misplaced note in the melody, one cheesy chord, one tacky lyric, one mispronounced word ("Yes, I hate the way he says 'don't diszgard me' too," Robert Christgau wrote of Elton John's "Don't Let the Sun Go Down on Me" in 1974, and I still remember him mentioning it 35 years later) can render the whole record unlistenable, depending on how sensitive you are to the particular offense.
Or think of a movie as a piece of architecture. A misplaced brick of the wrong color or texture, a sloppy corner, a window stuck in the wrong wall -- could conceivably demolish the overall effect of an otherwise well-designed building. Leave out a stone, or put in one of the wrong size or shape or strength, and all or part of the structure could come crashing down.
Or think of a movie as your face. With one festering pimple right there. And it's permanent. It doesn't take up a lot of facial real estate, but it mars the visage so that it's all anybody notices.