The Hitman's Bodyguard
While no one is going to mistake The Hitman’s Bodyguard for high art, it will please those in the mood for late-summer fun.
* 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.
An interview with the director "Baby Boom" and reappreciation of the film on its 30th anniversary.
Meredith Brody recaps the films she saw, of past and present, at the 2016 Telluride Film Festival.
A report from the 2005 Cannes Film Festival.
30 Minutes on the latest by Jeff Nichols ("Take Shelter," "Mud").
A review of the latest from Jeff Nichols from Berlinale 2016.
An interview with legendary animator Ralph Bakshi.
A recap of the screenings and events at the 2015 Middleburg Film Festival.
What should be nominated for Emmys this year? Let us guide the way.
A review of Netflix's "Bloodline" with Kyle Chandler, Ben Mendelsohn, Sissy Spacek, and Sam Shepard.
An excerpt from Faith and Spirituality in Masters of World Cinema Vol. 3.
"Frank," "Cold in July" and "Blue Ruin" are all about characters with limited knowledge of who they are and what they're capable of.
Marie writes: As the dog days of summer slowly creep towards September and Toronto starts getting ready for TIFF 2013, bringing with it the promise of unique and interesting foreign films, it brought to mind an old favorite, namely The Red Balloon; a thirty-four minute short which follows the adventures of a young boy who one day finds a sentient red balloon. Filmed in the Menilmontant neighborhood of Paris and directed by French filmmaker Albert Lamorisse, The Red Balloon went on to win numerous awards and has since become a much-beloved Children's Classic.
Marie writes: Last week, in response to a club member comment re: whatever happened to Ebert Club merchandize (turned out to be too costly to set up) I had promised to share a free toy instead - an amusement, really, offered to MailChimp clients; the mail service used to send out notices. Allow me to introduce you to their mascot...
PRESS RELEASE: CHAMPAIGN, Ill. -- Terrence Malick's 1978 film "Days of Heaven" won an Oscar for best cinematography, and Roger Ebert likely found that no surprise. It is "above all one of the most beautiful films ever made," Ebert said in a 1997 review. So it's only appropriate that the film will open the 15th annual Roger Ebert's Film Festival on April 17 in the big-screen, newly renovated Virginia Theater in downtown Champaign.
Marie writes: It's no secret there's no love lost between myself and what I regard as London's newest blight; The Shard. That said, I also love a great view. Go here to visit a 360-degree augmented-reality panorama from the building's public observation deck while listening to the sounds of city, including wind, traffic, birds and even Big Ben.
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!
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This is a free sample of the Newsletter members receive each week. It contains content gathered from recent past issues and reflects the growing diversity of what's inside the club. To join and become a member, visit Roger's Invitation From the Ebert Club.
Marie writes: Not too long ago, Monaco's Oceanographic Museum held an exhibition combining contemporary art and science, in the shape of a huge installation by renowned Franco-Chinese artist Huang Yong Ping, in addition to a selection of films, interviews and a ballet of Aurelia jellyfish.The sculpture was inspired by the sea, and reflects upon maritime catastrophes caused by Man. Huang Yong Ping chose the name "Wu Zei"because it represents far more than just a giant octopus. By naming his installation "Wu Zei," Huang added ambiguity to the work. 'Wu Zei' is Chinese for cuttlefish, but the ideogram 'Wu' is also the color black - while 'Zei' conveys the idea of spoiling, corrupting or betraying. Huang Yong Ping was playing with the double meaning of marine ink and black tide, and also on corruption and renewal. By drawing attention to the dangers facing the Mediterranean, the exhibition aimed to amaze the public, while raising their awareness and encouraging them to take action to protect the sea.
Marie writes: Behold the entryway to the Institut Océanographique in Paris; and what might just be the most awesome sculpture to adorn an archway in the history of sculptures and archways. Photo @ pinterest
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HAPPY BELATED BIRTHDAY TO THE EBERT CLUB!
Marie writes: behold the power of words, the pen mightier than the sword.
Marie writes: many simply know her as the girl with the black helmet. Mary Louise Brooks (1906 - 1985), aka Louise Brooks, an American dancer, model, showgirl and silent film actress famous for her bobbed haircut and sex appeal. To cinefiles, she's best remembered for her three starring roles in Pandora's Box (1929) and Diary of a Lost Girl (1929) directed by G. W. Pabst, and Prix de Beauté (1930) by Augusto Genina. She starred in 17 silent films (many lost) and later authored a memoir, Lulu in Hollywood."She regards us from the screen as if the screen were not there; she casts away the artifice of film and invites us to play with her." - Roger, from his review of the silent classic Pandor's Box.
Marie writes: At first you think you're looking at a photograph. Then the penny drops, along with your jaw..."Alan Wolfson creates handmade miniature sculptures of urban environments. Complete with complex interior views and lighting effects, a major work can take several months to complete. The pieces are usually not exact representations of existing locations, but rather a combination of details from many different locations along with much of the detail from the artist's imagination. There is a narrative element to the work. Scenarios are played out through the use of inanimate objects in the scene. There are never people present, only things they have left behind; garbage, graffiti, or a tip on a diner table, all give the work a sense of motion and a storyline. Alan's miniature environments are included in art collections throughout the US and Europe." - Alan Wolfson - Miniature Urban Sculptures
"FOLLIES BURLESK" (1987)14 1/4 x 19 1/4 x 21 1/2 inches(click images to enlarge)
"Troops of nomads swept over the country at harvest time like a visitation of locusts, reckless young fellows, handsome, profane, licentious, given to drink, powerful but inconstant workmen, quarrelsome and difficult to manage at all times. They came in the season when work was plenty and wages high. They dressed well, in their own peculiar fashion, and made much of their freedom to come and go.
"They told of the city, and sinister and poisonous jungles all cities seemed in their stories. They were scarred with battles. They came from the far-away and unknown, and passed on to the north, mysterious as the flight of locusts, leaving the people of Sun Prairie quite as ignorant of their real names and characters as upon the first day of their coming."
-- Hamlin Garland, "Boy Life on the Prairie" (1899), epigraph for Terrence Malick's screenplay for "Days of Heaven," revised June 2, 1976
At some point in 1976, "Days of Heaven" was a screenplay that contained conventionally discrete scenes, developed exchanges of dialog and a fairly straightforward (melo-)dramatic narrative structure. Principal photography took place that year in the plains of Alberta, Canada (standing in for the Texas panhandle shortly before World War I), and the movie that emerged in 1978, after two years of editing, did away almost all of it. What the movie became -- as everyone couldn't help but notice at the time of its original release -- is a film in which the "background" (nature, the landscape) moves into the foreground and the human characters recede into macrocosmic expanses of earth and sky, and microcosmic observations of flora and fauna. And bugs.
Terrence Malick's vision is reflected in his process, whereby an enormous amount of material -- scripted and unscripted, A-roll and B-roll -- is pared down, peeled back, opened up.¹ Camera operator John Bailey, in an interview on the Criterion Blu-Ray edition of "Days of Heaven," describes how the so-called "second unit" work. The close-ups of animals or plants, or the pastoral images of trees or streams are "very, very inserty-type shots, and yet they have the same kind of dramatic impact" as the spectacular wide shots -- or, for that matter, the scenes involving the lead actors. Some complained about that at the time -- that the film was gorgeous but insufficiently developed as human drama, that characters were cyphers, that the technique was "intolerably artsy" and "artificial."²
Q. I was surprised by your review of "Blindness." I've not seen the film yet; I am currently reading the novel, with 50 pages left to go. It is a stunningly good work. I've not read any of Jose Saramago's work before, but I will be reading more in the near future. I plan to see the film. John Zulovitz, Columbus, OhioA. One of the commenters on my blog asked how a film could be so true to a great novel and yet be an unsuccessful film. I think it involves the POV. In the novel, we are imagining being blind, but in the movie, we are seeing blind people.Q. What do you think of the idea of recommending someone "wait for video" to see a movie? What the heck is that supposed to mean? Chris Rowland, Browns Mills, N.J.A. Must be something in the air. A. Braunsdorf of Lafayette, Ind., asked the same question. If you're told to "wait for the video," interpret that as "don't see it." Any movie worth your time is worth seeing in a theater, if you can. But certainly use and appreciate video as a way to view good movies you want to catch up on. It's two hours of your life, no matter where you park your butt. "Wait for the video" should always mean "see it."Q. Do top-rank directors like Scorsese and Demme consider their films successful if they receive widespread critical acclaim, yet fail at the box office? Or is a profitable film a necessary earmark of success? By the same token, does it really matter to them if their films are critically lambasted, yet are huge box-office hits? Conrad Gurtatowski, Crown Point, Ind.A. Great directors believe their films are a success if they are satisfied with them. So they should. You can never be a great artist if you think critics or the box office know better than you do.Q. I had an odd movie-going experience today. The Clearview Chelsea, in one of NYC's gay neighborhoods, was showing "The Exorcist" as a camp classic mainly for its gay audience. A drag queen comedian "hosted" it, which means she sat with a microphone and made loud, obnoxious jokes throughout the movie (OK, some of which were kinda funny), and the audience was encouraged to scream out favorite lines and clap and cheer throughout.