Like Ficarra and Requa’s 2011 comedy Crazy Stupid Love, Focus begins promisingly and bops along enjoyably for a while, only to run out of steam…
* 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.
Marie writes: While writer Brian Selznick was doing research for his book "The Invention of Hugo Cabret", he discovered the Franklin Institute in Philadelphia had a very old automaton in their collection. And although it wasn't one of machines owned by Georges Melies, it was remarkably similar and with a history akin to the one he'd created for the automaton in The Invention of Hugo Cabret...
Marie writes: club member Sandy Kahn has submitted the following and I salute her web skills for having found it. Namely, an upcoming auction of film memorabilia the likes of which you rarely if ever see...
"I realize that most of the turning points in my career were brought about by others. My life has largely happened to me without any conscious plan. I was an indifferent student except at subjects that interested me, and those I followed beyond the classroom, stealing time from others I should have been studying. I was no good at math beyond algebra. I flunked French four times in college. I had no patience for memorization, but I could easily remember words I responded to. In college a chart of my grades resembled a mountain range. My first real newspaper job came when my best friend's father hired me to cover high school sports for the local daily. In college a friend told me I must join him in publishing an alternative weekly and then left it in my hands. That led to the Daily Illini, and that in turn led to the Chicago Sun-Times, where I have worked ever since 1966. I became the movie critic six months later through no premeditation, when the job was offered to me out of a clear blue sky."Visit "I was born inside the movie of my life" to read the opening pages from Roger's forthcoming memoir to be published September 13, 2011.
Marie writes: Allow me to introduce you to Bill and Cheryl. I went to Art school with Bill and met his significant other Cheryl while attending the graduation party; we've been pals ever since. None of which is even remotely interesting until you see where they live and their remarkable and eclectic collection of finds. (click to enlarge images.)
Marie writes: Doug Foster is a filmmaker and artist who produces large scale digital film installations that often play with ideas of symmetry and optical illusion. His piece The Heretics' Gate is currently on view at "Daydreaming with... St. Michael's" - an exhibition taking place at St. Michael's church in Camden, London. Note: Foster's piece first appeared at the Hell's Half Acre exhibition at the Old Vic Tunnels in London in 2010."The Heretics' Gate" draws inspiration from Dante's Inferno, the first part of his epic poem The Divine Comedy. A twenty foot high, arched screen and a thirty foot long reflecting pool, are cleverly combined to deliver a mesmerizing and strangely ethereal vision of hell at the central focus point of the church's imposing gothic architecture. To learn more, visit: Liquid Hell: A Q&A With Doug Foster.NOTE: The exhibition is the latest installment in renowned British music producer James Lavelle's curatorial and collaborative art venture, "DAYDREAMING WITH..." - a unique and visceral new exhibition experience, inspired by the desire to marry music and visual art. The goal is to bring together some of the most acclaimed creative names working in music, art, film, fashion and design.
I have a small childhood memory indirectly associated with Alejandro Jodorowsky's "Santa Sangre"(1989). I remember well about how it drew the attention of people when it was introduced in South Korea in 1994. One tagline was simple brutal honesty that I still recall with smile: "This is no doubt the cult!" And here is another nice one that makes my eyeballs still roll: "Today, You will be infected by the cult!"They were blatant enough to draw the attention from an 11-year-old boy, but the problems were that (1) I was too young to get the chance to watch it, and (2) my hometown was a local city far from Seoul. However, that was a blessing in disguise. They showed the audiences the butchered version with a considerable amount deleted due to local censorship. In those days, bold, controversial films like "The Cook, The Thief, His Wife, & Her Lover" were never introduced to South Korean audiences unless they were heavily chopped. You probably think it is kind of weird considering some uncompromisingly violent South Korean movies made nowadays, but it did happen a lot when I was young.
or: as promised, an explication of why I chose these pictures and sounds:
I. Titles: Chad Feldheimer gives the invocation (Brad Pitt in Joel and Ethan Coen's "Burn After Reading").
II. Prologue: Hannah Schygulla, Goddess of Fassbinder, Animating Spirit of Cinema, awakens to look us in the eye and set the movie-countdown in motion. (From "The Edge of Heaven." I tweaked it to begin in black and white and fade into color.)
10. "The Fall" (Tarsem Singh; comedy, Western/Eastern, fantasy, adventure). "The Fall" is a tall tale about storytelling and the movies -- the shadows that flicker on screens and the images that excite our imaginations. It is a tale told by an injured American stunt man, bedridden in a Los Angeles hospital circa 1915, and filtered through the consciousness of a little Romanian girl with limited English and a broken arm. She craves the story as much as he craves morphine. He becomes a too-human god, creator and destroyer of worlds; she becomes hooked.
The shot quoted above is a piece of shadowplay from the opening sequence -- the reverse-image of a bridge and a locomotive imprinted on the surface of the water. The white specks are men in the water. A figure on the shadow-bridge tosses them a rope, which becomes a thread linking the positive and negative sides of the picture in the same shot. The rope itself snakes out in shadow (in the foreground, illuminated from behind, not cast on the water) until the tangled coil appears, falling through sunlight, set off against the shadow of a pillar of smoke, and the "tail" is swallowed up by the black of the bridge. "The Fall" accomplishes astounding feats like that throughout.
My friend Alley Rutzel was so mesmerized by Tarsem Singh's "The Fall" (premiered at the 2006 Toronto International Film Festival, but released in the US only this summer), that she put together this index of breathtaking images and locations from the film. She writes: "Watching this movie was incredibly inspiring (I kept saying "I want to go there, and I want to go there...") so I made a game of trying to figure out all the filming locations." She still doesn't have 'em all, so please take a look and let her know if you can identify them...
by Roger Ebert
The 10th Anniversary Ebertfest begins tonight in Urbana-Champaign. It is with some melancholy that I write these words on a legal pad in a hospital bed in Chicago. After consulting with my doctors, I have decided it may not be prudent to try to make the journey today with a fractured hip.
April 1 was Roger Ebert's 41st anniversary as film critic for the Chicago Sun-Times (no fooling) — and the occasion for declaring his imminent return to reviewing movies.
The Prince of Denmark, Yukio Mishima and the Incredible Hulk are planning to convene in Champaign-Urbana, IL, for Roger Ebert's Film Festival (April 23-27, 2008). Joining them (off-screen) for the Ebertfest No. 10 will be directors Paul Schrader, Bill Forsyth, Sally Potter and actors Christine Lahti, Aida Turturro, Joe Pantoliano, among others. The emphasis is still on the (re-)discovery of "overlooked" films (with that term defined however Ebert wants to define it), but the festival is now known simply as Ebertfest. The full schedule is here:
Between Memorial Day and Labor Day, the best films fell into three summer traditions, plus some unclassifiable but memorable titles.