Schwarzenegger has turned into your elderly uncle, dancing like a goofball at your wedding after a couple glasses of champagne. He knows he’s being silly,…
* 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 list of the two-and-a-half-star reviews so far posted on RogerEbert.com this year.
A dispatch from Cannes on the new films by Emmanuelle Bercot, Hirokazu Kore-eda, and Matteo Garrone.
How Hollywood keeps out women; Why color correction matters; Spike Lee on digital film viewing; All things shining in "The Tree of Life"; Togetherness in "Avengers: Age of Ultron."
Ebertfest to welcome Jason Segel, James Ponsoldt, Chazz Palminteri, Jon Kilik, Julieta Zylberberg and Alan Polsky.
Glenn Kenny comments on awards season, Sean Penn, Neil Patrick Harris, and the actual Oscars.
A report on Slamdance 2015.
A Sundance dispatch with "Girlhood," "Christmas, Again," "Most Likely to Succeed" and "Beaver Trilogy Part IV".
A review of Hansal Mehta’s 2013 film, "Shahid."
With "Doll & Em" and "Ghetto Klown", Emily Mortimer and John Leguizamo turn personal stories into wildly creative television.
More debate about the future of U.S. healthcare reform; Twitch Film apologizes to director Sono Sion; friends don't let friends remake "Ben-Hur"; how television does better by women than movies do; deconstructing a "Carlito's Way" scene.
Peter Sobczynski ranks 27 films by Brian De Palma.
This piece is about director Neil Jordan's seven most overtly supernatural, fairy tale-like films—The Company of Wolves, High Spirits, Interview with the Vampire, The Butcher Boy, In Dreams, Ondine, and his latest, the mother-daughter vampire shocker Byzantium. An infographic analysis of each—please refer to the key for each symbol's meaning—reveals this pattern and confirms Byzantium is the culmination of 30+ years of Jordan exorcising his personal demons on-screen.
Marie writes: There was a time when Animation was done by slaves with a brush in one hand and a beer in the other. Gary Larson's "Tales From the Far Side" (1994) was such a project. I should know; I worked on it. Produced by Marv Newland at his Vancouver studio "International Rocketship", it first aired as a CBS Halloween special (Larson threw a party for the crew at the Pan Pacific Hotel where we watched the film on a big screen) and was later entered into the 1995 Annecy International Animated Film Festival, where it won the Grand Prix. It spawned a sequel "Tales From the Far Side II" (1997) - I worked on that too. Here it is, below.
Marie writes: Christmas is almost upon us, and with its impending arrival comes the sound of children running free-range through the snow, while grown-ups do battle indoors in the seasonal quest to find the perfect gift...
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 shared the following item with the Newsletter and for which I am extremely glad, as it's awesome..."Earlier this year, the Guggenheim Museum put online 65 modern art books, giving you free access to books introducing the work of Alexander Calder, Edvard Munch, Francis Bacon, Gustav Klimt & Egon Schiele, and Kandinsky. Now, just a few short months later, the Metropolitan Museum of Art has launched MetPublications, a portal that will "eventually offer access to nearly all books, Bulletins, and Journals" published by the Met since 1870."
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)
Terrence Malick's return to movie-making in 1998, preceded by a twenty-year period of largely mysterious retreat, was a tremendous event, the result of which - "The Thin Red Line" - exceeded any expectations one might have had at the time. I can still recall four consecutive evenings in early 1999, when I watched the movie repeatedly at the local cinema in my Polish hometown of Tarnowskie Góry. The first screening was so moving, I felt entranced and compelled to come back the next evening - and the next, and the one after that.
This prickly film haunts me. I am now older than James Dean, Marilyn Monroe, Jimi Hendrix, and Malcolm X. I am at that age where the infinite world of my childhood bedroom is now replaced by a complicated mass of interwoven needs, wants, and concerns. The soundtrack of my youth is a summer of wind blowing through fragile leaves, with katydids buzzing along. The rattling taps of rain on our roof has now given way to the plastic clicking of this keyboard and various other mechanical monsters. Under it all is an ongoing hiss of noise. I also sometimes fall into that trap of looking at today through the telescope of an idealized yesterday; that outlook is a slick valley that is difficult to climb out of and easy to slide back into. Jack Nicholson in Sean Penn's"The Pledge" (2001) is likewise watching the world change. More than that, he is watching his world slip away from him.
Above: Bill Murray, madras paparazzo. (AP photo)
The pizza they make in Cannes is unique: a less-is-more creation that is flat and crispy, thoroughly Mediterranean and packed with Riviera flavor. Alleged "European-style" pizzas peddled in the U. S. never seem to achieve that micron-thin crust covered by the faintest wash of tomato sauce, a mere garnish of cheese, and earthy ingredients that can include artichokes or thinly sliced eggplant, generous oregano, and tiny Cannes-grown olives (complete with pits). It's seared in an oven at an impossibly high temperature so that that everything melds into a glorious crackly flatbread that has nothing in common with the doughy excess of American pizza.
The opening day of the 65th Cannes Film Festival is a little like that local pizza, tasty and unique, providing a full range of experiences with just a few carefully chosen ingredients. The various competition events will be in full swing starting tomorrow morning, so today functions as a bit of an appetizer.
Even as festival workers were putting the final touches on the red carpet covering the famed steps up to the Grand Theater Lumiere for tonight's gala festival opening, the opening film, Wes Anderson's "Moonrise Kingdom," was previewing for the international press at the Debussy Theater next door. Although Anderson is the darling of many critics, the only film of his that I've previously warmed up to was his droll animated feature "Fantastic Mr. Fox." "Moonrise Kingdom" had me enthralled from the first frame, and made me think that I need to take another look at his earlier work.
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.
The Academy Award winners for the past thirty years have followed consistent molds, primarily in the categories of Best Actress, Best Actor, and Best Picture. It is a very simple set of templates that I will explain with excessive evidence. This is not to say that the Academy Awards are a conspiracy run by some secret society, although that idea would be quite fun. Rather, at the very least, there is a subtext to American culture that plays out in the ideas and ideals in American cinema, and it plays out consistently. At the very least, I'm illustrating some unwritten ideals in American culture. Whether or not they are healthy or corrupt, they are there in us. So, "Best Picture" is not a great movie; rather, it is a great movie that fulfills the mold.
Did somebody say "ambiguity"? I'm a big fan. Generally speaking, I much prefer movies with a little uncertainty, or a little emotional ambivalence, to those that spell everything out and tell me exactly how I should feel about it. Most of my favorite movies of 2011 thrive on ambiguity, open-endedness, a sense of the fluidity (or "slipperiness" as I like to call it) of time and space: "Uncle Boonmee Who Can Recall His Past Lives," "Certified Copy," "Margaret," "Meek's Cutoff"... But sometimes resonant inconclusiveness slips into deliberate laziness, substituting opacity for meaning. And when that happens, it's a shame.
Or, as Ignatiy Vishnevetsky writes, sometimes it's "Shame," the movie by Steve McQueen starring Michael Fassbender and Carrie Mulligan:
... McQueen... opts to shroud the movie in vagueness. This goes beyond the characters--Fassbender as the barely-sketched lead, Mulligan as the generic broken woman (tellingly, her sex life is played as comedy while Fassbender's is played as grand tragedy), Beharie as the foil whose attraction to Fassbender is never explained--and their relationships; Shame is a Choose Your Own Meaning movie, full of blank spaces that a sympathetic viewer can fill with their own interpretations (this culminates in a lengthy sex scene between Fassbender and two women, with Fassbender's facial expression serving as a sort of Rorschach blot).
It's smart filmmaking--and also totally duplicitous and self-serving, the arthouse craftsmanship nearly hiding the film's middle-brow triteness (see also: I Am Love), every scene ladled with big dollops of cinema's most respectable cop-out: ambiguity. When McQueen isn't marking time with exercises in post-slow-cinema aesthetics (as in the long tracking shot of Fassbender sternly jogging to his bitchin' Glenn Gould playlist), he elides and defers. Shame wears its emptiness like a badge of honor; McQueen is trying for banal blankness, and though he succeeds in that respect, you kind of wish that a filmmaker (and one with a background as an artist at that) would aspire to do more than just say nothing.
Marie writes: I was browsing the 2010 National Geographic Photography Contest Galleries and came upon this amazing shot - click to enlarge!
The Birth Of Earth: Photo by Terje Sorgjerd"Getting close or getting too close? Photo taken of the Eyjafjallajokull volcano eruption that would grind most of europe air traffic. This is the scariest moment in my life, and also the most beautiful and frightening display of raw force I have ever seen." - Terje Sorgjerd
You've probably read that Sean Penn, in an interview with Le Figaro, said this about working with Terrence Malick on "The Tree of Life": "I didn't at all find on the screen the emotion of the script, which is the most magnificent one that I've ever read. A clearer and more conventional narrative would have helped the film without, in my opinion, lessening its beauty and its impact. Frankly, I'm still trying to figure out what I'm doing there and what I was supposed to add in that context! What's more, Terry himself never managed to explain it to me clearly."
What you probably didn't read was what else he said, which was translated and posted as a comment by Guy Lodge in response to an article at InContention.com headlined "Sean Penn bitch-slaps 'Tree of Life'": "But it's a film I recommend, as long as you go in without any preconceived ideas. It's up to each person to find their own personal, emotional or spiritual connection to it. Those that do generally emerge very moved." (InContention.com followed up with "Penn on Malick, part deux.")
Back in May, the great production designer Jack Fisk, who has known Malick for many years, told Dennis Lim in the New York Times: "I was shocked by how personal the story was when I first read it. But when I watched the film I just think how universal it is." Or, as Richard Brody, who writes "The Front Row" for The New Yorker, aptly quotes Fritz Lang in Godard's "Contempt": "In the script it is written, and on the screen it's pictures."