Scarlett Johansson is an intriguing blank in Luc Besson's "Lucy," which is stranded somewhere between a stranger-in-a-strange-land action thriller and apocalyptic science fiction.
* 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.
Is art a mirror of reality? Should it be?
The verdict on "Orange Is The New Black: Season 2"; Three masters and their audience; Arthur C. Clarke predicts the Internet; Nathan Rabin on "Blue Steel"; Indie alternatives to "Edge of Tomorrow."
Paul Walker's digital double; Why Godzilla is still king; The legacy of "Mr. Smith Goes to Washington"; Larry Kramer on "The Normal Heart" movie; How internet journalism destroyed Tom Cruise.
The Abraham Lincoln Presidential Library Foundation honored award-winning filmmaker Steven Spielberg with the prestigious Lincoln Leadership Prize at a dinner ceremony Wednesday at the Hilton Chicago.
The director of "Lincoln" is honored by the Abraham Lincoln Presidential Library Foundation.
Peter Sobczynski makes the case for Alfonso Cuaron to win the Oscar for Best Director.
The comment on Godard's 'No Comment'; Polanski's victim offers some advice to Dylan Farrow; the comedy club theory of dictatorship; Shia's brand new bag.
The Producers Guild, the Writers Guild and the Directors Guild have all weighed in. How good are they as predictors of the Oscars?
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.