Dwayne Johnson tries, but he’s surrounded by poor CGI and a terrible adaptation of yet another comic book. Ian McShane steals what little movie there…
* 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.
Writer, director, and producer Paul Mazursky dies at 84.
Sheila writes: It's less than two weeks until the domestic release of Steve James' documentary about Roger Ebert, "Life Itself." "Life Itself" will hit theaters, as well as be released On Demand, on July 4, 2014. Please check out the exclusive clip on Rogerebert.com, which focuses on the impact Chaz had on Roger's life. "Life Itself" just opened the Hamptons Film Festival, and a QA with Chaz Ebert, Rogerebert.com editor-in-chief Matt Zoller Seitz followed the screening. The QA was hosted Alec Baldwin and Hamptons Film Festival artistic director David Nugent. You can read a transcript here.
A counterpoint opinion on David Cronenberg's "Map to the Stars."
A history of movies not directly based on comic books but definitely inspired by them.
Ali Arikan has figured out how AMC's "Mad Men" will end.
An excerpt from Shadow Philosophy: Plato's Cave and Cinema by Nathan Andersen.
An excerpt from Adam Nayman's new book "It Doesn't Suck: Showgirls".
Sheila writes: In 1968, Stanley Kubrick, whose game-changing "2001" was released that year, was interviewed for Playboy magazine. You can check out a facsimile of the interview here, but Open Culture has transcribed some of it, in particular the section where Kubrick gives some predictions on what the world will look like in the year 2001. It's fascinating speculative stuff.
Why film critics should write about filmmaking.
A career-view of the Coen brothers; Movie app shuts down; Nymphomaniac is not pornography; Cyberpunk renaissance forming; Negative take on No Country for Old Men.
Flappy Bird creator tells all about his hit app; Looking back at Kevin Smith's Mallrats; An expose on Scarlett Johansson; A letter to Lena Dunham; Challenging David Lynch's Blue Velvet.
Matt Zoller Seitz presents the RogerEbert.com pick for Best Picture: "12 Years a Slave".
A career view on Bill Murray; Personally connecting to Her; An editor from The New Yorker waxes poetic on aging, intimacy and death; Long takes on television; and a Hollywood desert land.
SNL's diversity problem extends to its writers room; movies, marijuana, and Hoberman; John Waters' one-man show; gender in the WNBA; life imitating Nazi-stolen art.
Ridley Scott's new film, whose production was interrupted by the suicide of the director's brother Tony, is a weird melding of their styles, concerns and temperaments.
French New Wave star Bernadette Lafont passed away July 25th. Lisa Nesselson writes about this bold, amazing actress.
All the movies Stanley Kubrick was known to have liked; the 25 most exciting young female filmmakers in cinema today; Skyler White is not a bitch; why Spike Lee doesn't need Kickstarter; reporter's account of watching her elderly parents getting arrested; scientists implant false memory in a mouse's brain; Paul Thomas Anderson directs Fiona Apple.
Sofia Coppola's privilege problem; why "Happy Birthday to You" isn't in the public domain; surveillance in America, and in the movies; five dictators who despise social media.
(UPDATED) Stanley Kubrick faked the Apollo 11 moon landing. The Newtown massacre and Boston Marathon bombings were "false flag" government conspiracies designed to take away our guns. Also, black is white, rich is poor, Obama is a foreign-born Muslim, work is freedom, freedom is slavery and Mona Lisa was a man.
"Room 237" is a captivating and engrossing new documentary exploring the covert symbols and whacked-out theories that have obsessed ardent fans of Stanley Kubrick's 1980 horror film, "The Shining." From a personal secret statement about the Holocaust to a cryptic confession about his involvement in a supposed NASA cover of the Apollo 11 moon landing, "Room 237" offers the wildly diverse interpretations of five obsessed film fanatics regarding Kubrick's possible hidden intentions. Katherine Tulich interviewed the film's LA based director Rodney Ascher and producer Tim White for this video report.
I walked into "Life of Pi" with extremely high expectations. After all, Ang Lee is a masterful director who helmed two of the greatest modern love stories in film. The trailers assured me that it was a must-see for the visuals alone, and then a friend said that it would transform me to another world through groundbreaking use of cinematography to manipulate the membrane of water. I walked in expecting the greatest use of 3D in film history; I walked out with much more.
Is "Room 237" some kind of crazy joke? Rick Ascher's much-discussed "subjective documentary" features five people who present their theories/interpretations of the "hidden meanings" they say they've found in the rooms and corridors of Stanley Kubrick's Overlook Hotel, the setting of his chilly 1980 horror film, "The Shining." I'm asking a question; I don't know the answer. I haven't yet had the opportunity to see the picture, which has played a number of festivals (Sundance, Cannes, Toronto, NY, London, Karlovy Vary) and has been picked up by IFC Films and is slated for release in 2013. I have seen Ascher's 2010 short, "The S from Hell," however, which the "Room 237" web site says "in many ways laid the groundwork" for the new film. That one is satire.
Everything reminds me of movies. And movies remind me of everything. My life has been divided into roughly three states of consciousness: the time I've spent awake; the time I've spent asleep (and dreaming); the time I've spent in-between, in the dark, inhabiting movie-worlds. They're all essential, holistic components of what you might call my Total Life Experience. And I find that in some respects they all run together, aspects of one seeping into another: images, patterns, metaphors... So, when I read this re-evaluation of the new Apple iPhone 5 -- the feel of the thing -- it struck me as also being about a quality of certain movies that we don't discuss very often.
OK, this is where it really gets interesting. Forget the consensus Top 50 Greatest Movies of All Time; let's get personal. Sight & Sound has now published the top 250 titles in its 2012 international critics poll, the full list of more than 2,000 movies mentioned, and all the individual lists of the 845 participating critics, academics, archivists and programmers, along with any accompanying remarks they submitted. I find this to be the most captivating aspect of the survey, because it reminds us of so many terrific movies we may have forgotten about, or never even heard of. If you want to seek out surprising, rewarding movies, this is a terrific place to start looking. For the past few days I've been taking various slices at the "data" trying to find statistical patterns, and to glean from the wealth of titles some treasures I'd like to heartily recommend -- and either re-watch or catch up with myself.
I know we're supposed to consider the S&S poll a feature film "canon" -- a historically influential decennial event since 1952, but just one of many. I don't disagree with Greg Ferrara at TCM's Movie Morlocks ("Ranking the Greats: Please Make it Stop") when he says that limiting ballots to ten all-time "best" (or "favorite," "significant," "influential" titles is incredibly limiting. That's why I think perusing at the critics' personal lists, the Top 250 (cited by seven critics or more) and the full list of 2,045 films mentioned is more enjoyable pastime.
It's wise to remember that, although the top of the poll may at first glance look relatively conservative or traditional, there's a tremendous diversity in the individual lists. Even the top vote-getter, "Vertigo," was chosen by less than one quarter of the participants.
The big loser in the 2012 Sight & Sound critics poll is... funny. OK, we know there are no losers, only winners! But, still, with the obvious exceptions of "Citizen Kane" and "Rules of the Game," this decade's consensus choices for the Greatest Films of All Time are not a whole lotta laughs, even though they're terrific motion pictures. There's not much in the way of chuckles or joie de vivre to be found in "Vertigo," "Tokyo Story," "Man with a Movie Camera," "The Searchers," "The Passion of Joan of Arc"... At least "Sunrise," "2001: A Space Odyssey" and "8 1/2" have healthy senses of humor, but "Kane" and "Rules of the Game" are the only movies in the top 10 with the propulsive vitality of (screwball) comedy. They are flat-out fun (even if they are regarded as "classics"). And with "Kane" bumped to #2 this time, The List has become, to paraphrase a great comedy from the 1980s, one less funny.
I say this as someone who believes that comedy is everything, and that drama is lifeless (or at least emotionally stunted) without it. Some might argue that comedy without drama is also limited and superficial, but I think comedy is more profound and complex -- and more difficult to pull off successfully. I can name plenty of comedies that capture a mature vision of human existence (if you're into that kind of thing -- like all of Buster Keaton), but a drama that (artificially) excludes humor is feels false and inert to me. [No, I'm not saying the other movies in the Top Ten are humorless or lack cinematic exuberance; just that their energy is not primarily comedic, as i feel Welles' and Renoir's are. To some extent, I'm talking about the overall tendency to value "seriousness" above "humor" in these sorts of exercises.] As for the 2012 Sight & Sound Top Ten, compare it with 1982 ("Singin' in the Rain," "The General"), 1992 ("L'Atlante") and 2002 ("Singin' in the Rain"). The lack of comedy on the new list hearkens back to the Somber Ol' Days of the 1950s, '60s and '70s. As somebody once said: Why so serious?