"Transcendence" is a serious science fiction movie filled with big ideas and powerful images, but it never quite coheres, and the end is a copout.
* 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 male bonding/rivalry and cars-go-vrooom of "Rush" leaves Susan Wloszczyna bored, but the Sandra Bullock and Dame Judi Dench save the day with great work in "Gravity" and "Philomena" respectively.
An interview with Nicolas Winding Refn, director of "Valhalla Rising," "Drive" and "Only God Forgives," among other films. Simon Abrams talks to the filmmaker about midnight movies, meeting Alejandro Jodorowsky, and the possibility that he might day make a Wonder Woman movie.
"As film exhibition in North America crowds itself ever more narrowly into predictable commercial fodder for an undemanding audience, we applaud those brave, free spirits who still hold faith with the unlimited potential of the cinema." - Roger
Marie writes: Widely regarded as THE quintessential Art House movie, "Last Year at Marienbad" has long since perplexed those who've seen it; resulting in countless Criterion-esque essays speculating as to its meaning whilst knowledge of the film itself, often a measure of one's rank and standing amongst coffee house cinephiles. But the universe has since moved on from artsy farsty French New Wave. It now prefers something braver, bolder, more daring...
Alan Sepinwall breathes fire on people who spoil Game of Thrones plot developments for newcomers; why the new Doctor Who should be a man, again; the late Iain Banks in his own words; John Malkovich saves a man's life; why you won't read to the end of anything; like air guitar, but with sex.
Now that the Cannes Film Festival is over, critics Ben Kenigsberg and Michał Oleszczyk take a look back over the festival.
"Only God Forgives" commits the unforgivable sin of being boring, "Muhammad Ali's Greatest Fight" is about old white men arguing about race, and "Blue is the Warmest Color" takes its time to follow the transition from uncertain teenager to knowing adult.
Marie writes: Now this is really neat. It made TIME's top 25 best blogs for 2012 and with good reason. Behold artist and photographer Gustaf Mantel's Tumblr blog "If we don't, remember me" - a collection of animated GIFs based on classic films. Only part of the image moves and in a single loop; they're sometimes called cinemagraphs. The results can be surprisingly moving. They also can't be embedded so you have to watch them on his blog. I already picked my favorite. :-)
Marie writes: I was looking for something to make Roger laugh, when the phone rang. It was a bad connection, but this much I did hear: "Roger has died." That's how I learned he was gone, and my first thought was of the cruel and unfair timing of it. He'd been on the verge of realizing a life long dream: to be the captain of his own ship.
Marie writes: Did you know that if you wear your contact lenses too much and too long during the cold, winters months - and with the windows closed and the heat cranked-up, that you can develop an annoying eye condition? Because you can. Ahem. And so for the time being, I'll be spending less time staring at my monitor and more time resting my eyes. The Newsletter will still arrive as usual each week, but it won't be as huge. That said, it will contain a few extra goodies to make up for it, by way of curious finds. And speaking of finding stuff...."On Thursday, March 7, 2013, SpaceX's Grasshopper doubled its highest leap to date to rise 24 stories or 80.1 meters (262.8 feet), hovering for approximately 34 seconds and landing safely using closed loop thrust vector and throttle control. Grasshopper touched down with its most accurate precision thus far on the centermost part of the launch pad. At touchdown, the thrust to weight ratio of the vehicle was greater than one, proving a key landing algorithm for Falcon 9. The test was completed at SpaceX's rocket development facility in McGregor, Texas." - by Neatorama
Happy New Year from the Ebert Club!TRAILERS
Marie writes: Intrepid club member Sandy Kahn has found another Hollywood auction and it's packed with stuff! From early publicity stills (some nudes) to famous movie props, costumes, signed scripts, storyboards, posters and memorabilia...
Marie writes: the ever intrepid Sandy Khan recently sent me a link to ArtDaily where I discovered "Hollywood Unseen" - a new book of photographs featuring some of Hollywood's biggest stars, to published November 16, 2012."Gathered together for the first time, Hollywood Unseen presents photographs that seemingly show the 'ordinary lives' of tinseltown's biggest stars, including Rita Hayworth, Gary Cooper, Humphrey Bogart and Marilyn Monroe. In reality, these "candid' images were as carefully constructed and prepared as any classic portrait or scene-still. The actors and actresses were portrayed exactly as the studios wanted them to be seen, whether in swim suits or on the golf course, as golden youth or magic stars of Hollywood."You can freely view a large selection of images from the book by visiting Getty Images Gallery: Hollywood Unseen which is exhibiting them online.
(click to enlarge image)
"Guilty Pleasures" (60 min.) premieres on the PBS series P. O.V. on Thursday, July 12 (check your local listings). The DVD is available for pre-order on the PBS website. It will stream on the POV's website July 13-Aug. 12.
by Donald Liebenson
"Guilty Pleasures." A documentary. About romance novels. She didn't watch documentaries. She didn't read romance novels. When she agreed to join him for what he called "movie night" ("I'll show you something you've never seen," he had said lasciviously), this is not what she signed up for. Her inner goddess yearned for a shirtless Ryan Gosling.
"Here," she offered, unsnapping "Crazy Stupid Love" from its DVD case. Suddenly, like a coiled snake, he lunged, grabbed the disc from her trembling hand and flung it against the wall, sending it spinning, spinning.
"Through my films I'm eventually trying to one day tell the truth. I don't know if I'm ever going to get there, but I'm slowly letting pieces of myself out there and then maybe by the time I'm 85, I'll look back and say, 'All right, that about sums it up.'" -- Adam Sandler, interview clip used in the 2012 Oscar broadcast
What if those schlocky Adam Sandler movies that you either think are funny or you don't really aren't just schlocky Adam Sandler movies that you either think are funny or you don't? What if they don't have much to do with movies at all, but are more like leveraged derivative instruments (I don't actually know what those are) or synthetic collateralized debt obligation (CDO) transactions, devised by accountants to provide maximum returns with minimum effort -- that promise investors profits for next-to-nothing? Ultra-low-budget production values and minor league actors, writers and directors (except for Sandler himself, who gets $25 million-plus up-front plus a heavy chunk of the gross), subsidized by egregious product placements, make for maximum risk minimalization.
As a moviegoer and a critic, all I care about is what's on the screen -- or isn't. But there's so little on the screen in Adam Sandler movies, that I confess I'm bewildered at what some claim to see in them. So, if you're curious about, say, how the production cost of the average Adam Sandler comedy jumped from about $30 million to about $80 million overnight... well, just keep reading.
The so-called " flop" of "That's My Boy" this past weekend (Sandler's second after "Jack and Jill" -- almost a trend!) has been greeted with schadenfreude in some quarters, but it disregards the likelihood that financial arrangements have long been in place that ensure a Sandler movie has to really, seriously tank before it winds up actually losing money.* Who knows -- there may be the equivalent of credit default swaps that protect Sony and Happy Madison from disappointing returns. I wouldn't be surprised to learn that there are investment devices that allow the backing companies to actually make money by placing wagers predicting the underperformance of a given movie, just to hedge their bets. Everybody wins, right?
Marie writes: Behold a truly inspired idea...Age 8: Eileen's pink creature It started with a simple idea: to make a recognizable comfort toy for her 4 year-old son Dani, based on one of his drawing. His school had asked the children to bring in a toy from home; an emergency measure in the event of a tantrum or crying fit. Fearing he might lose his favorite, Wendy Tsao decided to make Dani a new one. Using a drawing he often made as her guide, she improvised a plush toy snowman. Five years later, Wendy Tsao has her own thriving home-based craft business - Child's Own Studio - in which she transforms the imaginative drawings of children into plush and cloth dolls; each one handcrafted and one-of-a-kind. She receives requests from parents all over the world; there's 500 people on waiting list. Note: kudos to club member Sandy Kahn for submitting the piece.
I love a black comedy. Always have. You know, all those tragic mishaps that seem to befall Alec Guinness in the English countryside when no one is looking? But then who doesn't love an Ealing comedy. I also like "Dexter" and for similar reasons; it too, has an air of subversive glee about it, albeit darker and more graphic in nature. The appeal is never about seeing people die, though (where's the fun in that?). Nor in watching mindless torture porn like Hostel; a genre increasingly viewed as the favorite pastime of failed experiments in parenting, moreover, and thus to be avoided at all costs. I loathe the entire genre aka "Women in Danger" films as Gene and Roger once termed them. American Psycho however, is anything but a slasher film.
Of course, no one is really robbed of an Academy Award nomination. It's a gift; not a right. The balloting procedure is conducted honestly and reflects a collective opinion, which was demonstrated this year when the Academy voters had the curiosity to seek out Demian Bichir for best actor for his deeply convincing performance as a Mexican gardener in Los Angeles in "A Better Life." He wasn't on my mental list of possible candidates, but when I heard the name, I thought, "Of course! Good thinking!"
Two movies about the love of movies lead the field in the 2012 Academy award derby. Both look back at formative years for the art form. Martin Scorsese's "Hugo," about a young boy who makes a friend of the inventor of the cinema, led the field with 11 nominations. And Michel Hazanavicius' "The Artist," set when Hollywood was making the transition from silent pictures to the talkies, placed second with ten.
Making lists is not my favorite occupation. They inevitably inspire only reader complaints. Not once have I ever heard from a reader that my list was just fine, and they liked it. Yet an annual Best Ten list is apparently a statutory obligation for movie critics.
My best guess is that between six and ten of these movies won't be familiar. Those are the most useful titles for you, instead of an ordering of movies you already know all about.
One recent year I committed the outrage of listing 20 movies in alphabetical order. What an uproar! Here are my top 20 films, in order of approximate preference.
Film Studies Ryan Gosling
Marie writes: remember "The Heretics Gate" by artist Doug Foster? Well he's been at it again, this time as part of an exhibit held by The Lazarides Gallery - which returned to the subterranean depths of The Old Vic Tunnels beneath Waterloo Station in London, to present a spectacular group show called The Minotaur. It ran October 11th - 25th, 2011 and depending upon your choice (price of admission) dining was included from top Michelin-star chefs.Each artist provided their own interpretation of the classical myth of Theseus and the Minotaur and as with The Heretics Gate before it, Cimera, Doug Foster's new and equally as memorizing piece made it possible to project whatever comes to mind onto it, as images of body forms and beast-like faces take shape and rise from the bowels of earth. (click image to enlarge.) Photo by S.Butterfly.
When I saw, and immediately wrote about, Nicolas Winding Refn's "Drive," I knew almost nothing about it except the title and that Ryan Gosling was in it. I remembered that it had received acclaim at Cannes back in May (I did not recall that Refn had won the best director prize) and, as it turns out, I hadn't seen any of Refn's previous films -- although "Bronson" and "Valhalla Rising" had been recommended to me by friends. Since then, I've been reading up on "Drive" and have discovered so many fascinating little tidbits (many of which confirm my first impressions) that I decided to put together this little primer.
I recommend that you refrain from reading this until you've seen the movie, though.
Cited influences include: Grimm's Fairy Tales, John Hughes ("Sixteen Candles," "Pretty in Pink"), Sergio Leone, Alejandro Jodorowsky...
On the title font:
Refn: Me and Mat Newman, who edits all my movies, we stole that in the editing table from "Risky Business."
-- from an interview with Scott Tobias at The A.V. Club
I was going to say, up front, that I had some mixed feelings about Nicolas Winding Refn's "Drive," but I'm not sure that "feelings" is the appropriate word. This 1980s pastiche (isn't that the "Risky Business" typeface lit up in neon pink?) is emotionally and narratively stripped down to resemble the sleek, polished surfaces of... well, muscle cars, but also movies by the likes of Walter Hill ("The Driver"), Michael Mann ("Thief"), William Friedkin ("To Live and Die in L.A."), Paul Schrader ("American Gigolo") and others. It even sports an aggressively ersatz-Tangerine Dream synth score of the kind so popular in the early 1980s, though this one also features some Euro-vocals with unfortunate English day-glo-highlighter lyrics ("a real human being and a real hero..."). Emotion, character, story -- they're not so much what "Drive" is interested in. The movie makes fetishistic use of signifiers for those things, but its most tangible concerns have (paradoxically?) to do with dreamy abstractions of color and shape and movement.
I like the red a lot. Not just the blood (which is the heart of the film, and I'll get to that in a minute), but there's so much blue (teal?) and orange and pink that when the red starts gushing in, it pumps some real excitement into what has, by that point, settled into a fairly static picture. (In some respects, I think "Drive" perversely hints at an art-house action movie -- and an erotic movie -- it never quite delivers, after a pretty [and] terrific archetypal getaway chase at the beginning, in which the Driver shows off his skills at using Los Angeles infrastructure to play hide-and-seek with cop cars and helicopters. Thank goodness, though, that it never turns into the racetrack movie it briefly threatens to become.)
So, the red: It excites the eyeballs (and signals imminent danger) in the red-and-white checkered windows at Nino's Pizza. But as I recall, it really gets going at Denny's. The nameless Driver (Ryan Gosling), a movie stuntman who also works as a mechanic and moonlights as a getaway car wheelman-for-hire, sits down with his generic romantic-interest neighbor Irene (Carey Mulligan), who wears a red uniform vest as a Denny's waitress, in a booth with red light fixtures above it and a BIG plastic bottle of ketchup on the table. I don't remember what the conversation is about -- it doesn't matter, but it's probably something about her husband Standard (Oscar Isaac), who's just got out of jail and owes money to some brutal sleazebags who are threatening to physically harm him and Irene and their son Benicio (Kaden Leos), to whom Driver has also taken a shine. What I remember is the red. The film becomes pregnant with red.
"I realize that most of the turning points in my career were brought about by others. My life has largely happened to me without any conscious plan. I was an indifferent student except at subjects that interested me, and those I followed beyond the classroom, stealing time from others I should have been studying. I was no good at math beyond algebra. I flunked French four times in college. I had no patience for memorization, but I could easily remember words I responded to. In college a chart of my grades resembled a mountain range. My first real newspaper job came when my best friend's father hired me to cover high school sports for the local daily. In college a friend told me I must join him in publishing an alternative weekly and then left it in my hands. That led to the Daily Illini, and that in turn led to the Chicago Sun-Times, where I have worked ever since 1966. I became the movie critic six months later through no premeditation, when the job was offered to me out of a clear blue sky."Visit "I was born inside the movie of my life" to read the opening pages from Roger's forthcoming memoir to be published September 13, 2011.