Mr. Peabody & Sherman
This adaptation of Jay Ward's 1960s cartoon is sweet and bombastic, clever and weirdly reactionary.
* 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.
Sheila writes: David Bowie was born on January 8, 1947 (he shares the day with Elvis Presley, two of the biggest RCA artists in their respective generations), and to celebrate Bowie here's a fun "info graphic" on the evolution of the artist through his various ages.
An interview with New Zealand stuntwoman Zoë Bell, best known for hanging on the hood of Kurt Russell's car in "Death Proof," now the star of her own action vehicle, "Raze"
The nominations from the Producers Guild, Screen Actors Guild and the Writers Guild have announced their nominations, and the Oscars race is starting to come into focus.
Matt Zoller Seitz's Top 10 films of 2013.
The Oscars race has hit a holiday lull. It's a good time to pause and take stock of nominations.
By all accounts, 2013 has been a striking year for black film directors. But is the real story about black directors working in television?
"Tower Prep" was cancelled because it was too girl-centric; the year's 10 best movie quotes; the year's worst movie titles; the real sins of the Welfare Queen; the aptly named Wiseman speaks.
Critics groups from around the country are giving awards. What impact do these awards have on the Oscar race, and how useful are they as predictors?
Erik Childress looks at the first awards of the season and their possible impact on the Oscar race.
That a film as searing and necessary as "12 Years a Slave" is having trouble drawing large audiences is a testament to the power of denial. That so few mainstream films have been made about slavery in America is also a testament to the power of denial.
Dan Callahan looks at the career of Alfre Woodard.
The logic of "stupid poor people"; the retrogression of "Boondock Saints"; Zizek and Chomsky documentaries; David Simon on "12 Years a Slave"; a case for theological studies.
The aesthetic politics of filming black skin; saving Memphis; a Richard Linklater retrospective; "Fisher King" commentary; bankrupting emergency care.
"12 Years a Slave" and "The Butler" are part of a valuable subgenre of American film that dramatizes the fallacy of "Black respectability"—the notion that if African-Americans will only speak, dress and behave in a certain way, discrimination won't affect them, and they'll reap the American dream.
Inside the Kenyan mall massacre; the death toll of acetaminophen; that heartwarming story of the pastor who posed as a homeless man is a fake; one person who's really glad that Breaking Bad is ending; ten great movies set in museums.
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...
The goodies are in! After a slow start, Sundance Film Festival 2013 has begun to offer real discoveries, even if the wait for that elusive game-changing masterpiece is by no means over. Still, there's stuff to enjoy in Park City and appetites seem pleasantly whetted.
On the subway, the beautiful woman returns his gaze with a smile. Noticing the desire of the man before her, she crosses her legs suggestively, indicating an awareness of what's happening while waiting for a more direct approach. Gradually, however, something occurs to her: the man is not smiling nor showing any sign that he's enjoying the pleasure of mutual seduction, seeming only interested in establishing the possibility of sex before making any move. Suddenly, the situation becomes unbearably uncomfortable and the girl, not understanding exactly what goes on his mind, runs out of the car, fearing the cool evaluation of that look.
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.
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.
Over the last ten days or so I have been serially obsessed with "A Dangerous Method," "Tinker Tailor Soldier Spy," "Margaret," "Moneyball," "A Separation" -- and I haven't had time to really devote myself to following these obsessions because I must get to the next movie on my end-of-year "must-see" list, which grows and mutates by the day. Of course, I never do make it to all of them by my deadlines, but between Thanksgiving and mid-December, those of us who whip up those inevitable year-end ten-best lists of movies and who participate in film critics' polls and/or awards balloting feel a little like those wretched souls at Wal-Mart on Black Friday (or is it Black Thursday now?), busting down doors to get to screenings and screeners so we can see and evaluate everything in the rush before voting day.
It's a joy to have these opportunities to see new stuff that might not be released in many cities until late December or sometime in 2012, and to catch up with things that slipped by earlier in the year. But ithe pressure to evaluate everything in "ten best" terms, rather than just watching the movies and thinking about them and writing about them and considering "listworthyness" later on, can also be frustrating. Especially while award-bestowers -- I'm talking about you, New York Film Critics Circle -- have moved their year's-best announcements earlier and earlier (right after Thanksgiving weekend!). So, even as I'm watching things, they're being honored or ignored in various quarters.
Marie writes: Did you know that the world's steepest roller-coaster is the Takabisha, which opened earlier this year at the Fuji-Q Highland Amusement Park in Yamanash, Japan? The ride lasts just 112 seconds but is packed with exciting features including seven twists, blackened tunnels and a 43m-high peak. But the most impressive thing about Takabisha is the 121 degree free-fall, so steep that it's been recognized by the Guinness World Records as the steepest roller-coaster made from steel!
Marie writes: It occurred to me that I've never actually told members about the Old Vic Tunnels. Instead, I've shared news of various exhibits held inside them, like the recent Minotaur. So I'm going to fix that and take you on a tour! (click image to enlarge.)
Lesson for the day: How to have fun while wasting time... Marie writes: welcome to DRAW A STICK MAN, a delightful Flash-based site prompting viewers to draw a simple stick figure which then comes to life! Ie: the program animates it. You're given instructions about what to draw and when, which your dude uses to interact with objects onscreen. Thanks go to club member Sandy Kahn who heard about it from her pal Lauren, in Portland Oregon.Note: here's a screen-cap of what I drew; I've named him Pumpkin Head.
Marie writes: the following moment of happiness is brought to you by the glorious Tilda Swinton, who recently sent the Grand Poobah a photo of herself taken on her farm in Scotland, holding a batch of English Springer puppies!