300: Rise of an Empire
In comparison with "300", this insane film is more engaging by dint of being absolutely impossible to take even a little bit seriously.
* 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.
Part two of our countdown of twelve great scenes set around Christmas: #8–#5.
Erik Childress looks at the first awards of the season and their possible impact on the Oscar race.
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.
Actor Joseph Gordon-Levitt discusses "Don Jon," his first film as a writer-director.
Movie blogger calls 911 over cell phone use at Toronto Film Festival; what Harun Farocki taught; why TV is, if not wholly better than movies these days, then at least more compelling; stop it with the Oscar predictions, already, it's only September; no more open letters to Miley Cyrus, please, ladies; Batman rescues kitten from burning building; video for MGMT's third album.
In its third season, producer Steven Spielberg's "Falling Skies" brought in a new team of writers to rethink the allegorical underpinnings of the show. It worked.
An amazing special Roger made with Gene Siskel in 1990, talking to Martin Scorsese, Steven Spielberg and George Lucas about the future of movies.
Why you should always go to the funeral; six reasons why DVDs will survive; a 40th anniversary celebration of "Super Fly"; Dr. StrangeCinema's indictment of Spike Lee's Kickstarter campaign; on Buzzfeed's fatuous lists; Saul Bass' legendary movie posters; Siskel and Ebert's 1990 special about the "Future of the Movies."
Michael Mirasol muses on "Pacific Rim" and the strange antagonism to the film, and on its relationship to its inspirations.
Nick Schager ponders the new crop of action directors, who bring 'serious film' cred to the genre, but can't seem to show personality where it counts the most.
Peter Sobczynski eulogizes the late, great, astoundingly prolific writer Richard Matheson, "whose work in a career that would encompass seven decades influenced anyone who encountered, it regardless of the medium he was working in." Includes appreciations of "Duel," "Nightmare at 20,000 Feet," "I Am Legend," "Somewhere in Time" and many other works, original and adapted.
Suicide glamour and magazine-shaming; how American textbooks dumb down Vietnam; remembering the late investigative journalist Michael Hastings; why sex on the first date is not an inherently bad thing; the American vs. the French way of making movies; Love and Rockets covers, collected; Martin Scorsese's The Wolf of Wall Street.
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...
If we said there was a clear throughline from "Bonnie and Clyde" and Richard Donner's "Superman: The Movie," you'd say we were crazy, right? Get ready to eat your words as we prove once again that showbiz works in mysterious ways.
As a companion piece to our reassessment of "At Long Last Love," Peter Bogdanovich recalls the film's orgins, its forgotten pleasures, and the studio-mandated tinkering that turned it into a box office bomb. He also recalls turning down an offer of help from Gene Kelly, casting Burt Reynolds, and a remarkable encounter with Roger Ebert.
Ben Kenigsberg recaps Cannes's post-awards press conferences and closing-night party.
Barbara Scharres reports on the winners at the Cannes Film Festival.
Ben Kenigsberg makes his predictions for Sunday night's Cannes awards.
"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.
After duds "Jimmy P." and "Grand Central," the Coen brothers' "Inside Llewyn Davis" saves the day for Barbara Scharres.
Power is rarely discussed at Cannes, and it’s ostensibly all about art, although careers can hang on critics’ approval, and whether films are sold here, and to how many regions of the world. The annual jury press conference on the opening day is the first and foremost love-fest in which the concept of competition is downplayed and jurors find novel ways to sidestep the question of comparing one film to another in order to award the Palme d’Or in ten days.
Barbara Scharres sets the stage the 66th annual Cannes Film Festival.
Saturday, May 4, was one month to the day that Roger left this earthly plane. In honor of Kentucky Derby weekend I am posting this photo of Roger and I proudly sporting our hats at Churchill Downs. There have been several photos of us wearing hats over the years. For some reason hats delighted us to no end. And Roger was particularly fond of some of the more outrageous hats we wore. That day while we were watching the races we were so pleased that we could wear our hats both in doors and out. You can’t wear a hat in a movie theater.
In my copy of his book "Scorsese," Roger Ebert wrote these words: "Every movie lover needs a hero."
I've found mine in Steven Spielberg.
Spielberg has been my hero ever since I, in my childhood, saw his more popular films (" Jaws," "Temple of Doom," "Hook," " E.T.," "Close Encounters," et al.), but recently, as I covered areas in his filmography I hadn't before, and doubled back to some that I didn't quite remember, I was struck by how much he really is my hero.
But what really matters is the Muriels. You know, that time-honored annual movie award that is not named after Bette Davis's Uncle Oscar, but after co-founder Paul Clark's guinea pig. Throughout the month of February (the 6th through the 23rd), the winners have been announced, as you know because you've been regularly clicking on the Muriels link right here on Scanners. Anyway, you know what "Argo" can do; the Muriel voters, on the other hand, chose to give the year's top prize to what, for me, was obviously the most rewarding movie experience of the year: Leos Carax's "Holy Motors."