Hunt for the Wilderpeople
A road movie and coming-of-age tale, Hunt for the Wilderpeople is consistently clever and even moving—proof that we’ll keep listening to familiar stories if they’re…
* 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.
Roger Ebert reviews David Lynch's "Wild at Heart" at the Cannes Film Festival.
An interview with "Cult Movies" author Danny Peary.
The 28th version of Unloved comes back from the Amazon with an exploitation classic.
A celebration of actresses Jane Birkin and Charlotte Gainsbourg in anticipation of an upcoming series at the Film Society of Lincoln Center in NYC.
Glenn Kenny reports from the Chiller Expo.
An interview with Larry Blamire on the "Lost Skeleton" trilogy.
An FFC shares memories of the Los Angeles Theater scene.
A collection of rave reviews for Life Itself that came out of the Cannes and Sundance Film Festival.
Cannes Flashback #2: David Lynch Gives Filmgoers All They Can Handle
Seonyong Cho offers his appreciation of Steve James' "Life Itself" and gives both the film and the man a thumbs up.
A year after the death of Roger Ebert, our critics and contributors on the site that bears his name were asked to share a memory of the man.
Recent releases on Blu-ray.
Michael Mirasol shares what he wants to say to Roger after seeing "Life Itself".
Anath White picks her favorite piece of Roger's writing.
We catch up with Irv Slifkin, the man behind MONDO MEYER, a Philadelphia event celebrating the work of filmmaker Russ Meyer.
Haji, one of the stars of "Faster, Pussycat! Kill! Kill!" has passed away.
"Blood Feast" is a terrible film, and a historically important one, too. On the fiftieth anniversary of its release, Simon Abrams revisits this gore-fest.
Charlie Schmidlin reports from a screening of the Roger Ebert–scripted "Beyond the Valley of the Dolls."
Rating: Four stars
Consider now the curious character of Dr. King Schultz. He is an itinerant dentist who works from his little wagon, traveling the backroads of the pre-Civil War South. As Quentin Tarantino's "Django Unchained" opens, we see a line of shackled slaves being led through what I must describe as a deep, dark forest, because those are the kinds of forests we meet in fairy tales. Out of this deepness and darkness, Schultz (Christoph Waltz) appears, his lantern swinging from his wagon, which has a bobbling tooth on its roof.
The two most important things that can happen to you in a mainstream movie are being killed and having an orgasm. Sometimes in facial close-ups it's hard to tell one from the other. When Pauline Kael saw that wall poster in Italy saying "Kiss Kiss Bang Bang," she sensed she was onto something.
● Jackboots on Whitehall (DVD/VOD/Digital cable July 26) ● American Grindhouse (DVD/Hulu July 26)
by Steven Boone
The animated comedy "Jackboots on Whitehall" does its best to tweak every British stiff-upper-lip stereotype ever perpetuated in film and popular culture since World War II. This satire employs puppet animation techniques familiar from "Team America: World Police" and classic George Pal puppetoons, but with exquisite production design more akin to Wes Anderson's stop-motion "Fantastic Mr. Fox." Instead of marionettes or stop-motion, however, filmmakers Edward and Rory McHenry employ animatronic dolls enhanced with CGI.
The period detail in this account of Hitler's alt-reality occupation of London is stunning: a convincing re-creation of Whitehall, the road whose major landmarks comprise the seat of British government; the airship Hindenburg, which, in this reality, never blew up and now serves as a Nazi attack vehicle; Hadrian's Wall and the hills of Scotland; vintage fighter planes, palaces, tanks, luxury cars... Equally meticulous is the costuming, from Winston Churchill's pinstriped suit to the Raj soldiers' blue turbans.
While the McHenry brothers' puppets aren't articulated beyond some binary limb and neck movements, they are sculpted with such expressive character it's easy to suspend disbelief. Exuberant character voices help. Timothy Spall as a gruff Churchill, Alan Cumming as a fey Hitler and Tom Wilkinson as a simpering Goebbels play it lip-smackingly broad. Richard E. Grant portrays a tightly wound priest so perpetually furious that its possible he gave his entire performance through clenched teeth. Ewan McGregor lends the unlikely farm boy hero some warmth. Along the way, some downright filthy jokes fly by almost subliminally, under kids' radar (including a visual joke last seen in "Boogie Nights"). In fact, so much of the humor is adult, whether in raunchiness or complexity, that Jackboots on Whitehall is less a family film than one for liberal parents and their precocious teens. The DVD includes a fascinating behind-the-scenes documentary that details just how much love went into this handcrafted epic.
Marie writes: Each year, the world's remotest film festival is held in Tromsø, Norway. The Tromsø International Film Festival to be exact, or TIFF (not to be confused with Toronto.) Well inside the Arctic Circle, the city is nevertheless warmer than most others located on the same latitude, due to the warming effect of the Gulf Stream. This likely explains how they're able to watch a movie outside, in the snow, in the Arctic, in the winter. :-)
This entry is safe for work.
I hesitated just a moment before including Miss June 1975 in my piece about Hugh Hefner. I wondered if some readers would find the nude photograph objectionable. Then I smiled at myself. Here I was, writing an article in praise of Hefner's healthy influence on American society, and I didn't know if I should show a Playmate of the Month. Wasn't I being a hypocrite? I waited to see what the reaction would be.
The Sun-Times doesn't publish nudes on its site, but my page occupies a sort of netherland: I own it in cooperation with the newspaper, but control its contents. If anyone complains, I thought, it will be the paper, and if they do I'll take it down.
From the moment that Hal Holmes and I slipped quietly into his basement and he showed me his father's hidden collection of Playboy magazines, the map of my emotional geography shifted toward Chicago. In that magical city lived a man named Hugh Hefner who had Playmates possessing wondrous bits and pieces I had never seen before. I wanted to be invited to his house.
I was trembling on the brim of puberty, and aroused not so much by the rather sedate color "centerfold" of an undressed woman, as by the black and white photos that accompanied them. These showed an ordinary woman (I believe it was Janet Pilgrim) entering an office building in Chicago, and being made up for her "pictorial." Made up! Two makeup artists were shown applying powders and creams to her flesh. This electrified me. It made Pilgrim a real person. In an interview she spoke of her life and ambitions.
This, for the benefit of future rock historians, is the transscript of a screenplay I wrote in the summer of 1977. It was tailored for the historic punk rock band the Sex Pistols, and was to be directed by Russ Meyer and produced by the impresario Malcolm McLaren. It still carried its original title, "Anarchy in the U.K.," although shortly after I phoned up with a suggested title change, which was accepted: "Who Killed Bambi?" I wrote about this adventure in my blog entry McLaren & Meyer & Rotten & Vicious & me. Discussions with Meyer, McLaren and Rene Daalder led to this draft. All I intend to do here is reprint it. Comments are open, but I can't discuss what I wrote, why I wrote it, or what I should or shouldn't have written. Frankly, I have no idea.