Magic in the Moonlight
While Allen’s new picture, "Magic In The Moonlight," isn’t even close to being a disaster (for that, see, well, "Scoop"), I don’t think it’s unreasonable…
* 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.
Five dumbest arguments against gender diversity. Why Louis C.K. is wrong about Common Core; Alfonso Cuarón's questions for Mexico's president; The relevance of 'Her'; The case for why Johnny Depp is overrated.
A complete guide to the 16th Annual Roger Ebert's Film Festival.
The Chicago Sun-Times reports on the 2014 Ebertfest, including appearances by Oliver Stone & Spike Lee.
Art and improvement; Vampires on film; Philippines censor board makes a wholesome request; An interview with Jackie Robinson's pen pal; Completed movies that have yet to be released.
Tilda Swinton, interviewed; The story behind "Boy With Appple"; Analyzing how rape is depicted in television; "Poptimism" and music criticism; Thoughtful reflections on Roger Ebert.
Chaz reflects on the last year.
"True Detective" finale; coverage of the True/False film festival; the case against Wes Anderson; a case for Wes Anderson; inside the mind of a psychopath
Wes Anderson talks about the sources behind "The Grand Budapest Hotel", dining with his cast every night on location, and the comic gifts of Ralph Fiennes.
Sheila writes: It's been such a sad week, with the shocking news of Philip Seymour Hoffman's passing. I am still struggling to get my head around it, and I know so many others feel the same, not to mention his colleagues, friends, and family, all of whom must be heartbroken. There is a roundup of tributes to him below in the newsletter. With so much darkness in the world, and so much pain, I wanted to lead off this week with a funny and silly photo gallery I came across, of a couple who re-enact famous movie scenes with their baby. Here they are, in "Apollo 13".
Festival passes for EbertFest, April 23–27, are going fast. Get yours soon.
"The Wes Anderson Collection" video essay series finishes with a look at the director's 2012 hit "Moonrise Kingdom," the tale of a young love that throws a small community into turmoil.
The legend of Harvey Scissorhands; the controversial twist of "Homeland"; a "Lucking Out" review; the sad misogyny of "Xanth"; the NSA galls the spy-crazy French.
Sheila writes: Todd Sanders is a self-taught neon sign artist. Roadhouse Relics, the gallery of his work in Austin, Texas, is filled with his beautiful vintage-inspired signs. His designs are all hand-drawn. He collects old magazines from the 1920s, 1930s, etc., to get inspiration for his neon signs. He does custom signs as well. You can check out Sanders' work, bio, and press kit at Roadhouse Relics. Neon brings up all kinds of automatic images and associations: seedy hotels, burlesque joints, cocktail bars. His signs evoke those images, but much more. For instance, look at his beautiful "Fireflies In a Mason Jar".
The first day of the Toronto International Film Festival.
The new science fiction action film from Bong Joon-ho ("The Host," "Mother") defies the odds by turning yet another dystopian future into something thrilling and distinctive.
Karen Black, who died Aug. 7 at 74, was the “what the hell?” emblem of the American New Wave, its most extreme, improvisational player, its most unusual, unaccountable, unstable presence.
Today would have been our 21st wedding anniversary. I'm thinking of Roger and our love.
"As film exhibition in North America crowds itself ever more narrowly into predictable commercial fodder for an undemanding audience, we applaud those brave, free spirits who still hold faith with the unlimited potential of the cinema." - Roger
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...
James Gray's "The Immigrant" maintains a tight focus on the Ellis Island experience, and Mohammad Rasoulof's "Manuscripts Don’t Burn" dramatizes the inside of the cruel Iranian secret service.
Tilda Swinton leads 1,500 people in a dance-along to Barry White's "You're the First, the Last, My Everything" during Roger Ebert's Film Festival in the Virginia Theater on April 26, 2013.
PRESS RELEASE: CHAMPAIGN, Ill. -- Terrence Malick's 1978 film "Days of Heaven" won an Oscar for best cinematography, and Roger Ebert likely found that no surprise. It is "above all one of the most beautiful films ever made," Ebert said in a 1997 review. So it's only appropriate that the film will open the 15th annual Roger Ebert's Film Festival on April 17 in the big-screen, newly renovated Virginia Theater in downtown Champaign.
Marie writes: Holy crap! THE KRAKEN IS REAL!" Humankind has been looking for the giant squid (Architeuthis) since we first started taking pictures underwater. But the elusive deep-sea predator could never be caught on film. Oceanographer and inventor Edith Widder shares the key insight - and the teamwork - that helped to capture the squid on camera for the first time, in the following clip taken from her recent TED talk." And to read more about the story, visit Researchers have captured the first-ever video footage of a live giant squid at i09.com
When David Fincher's "Zodiac" (2007) was released in South Korean theaters, it was immediately compared to a famous South Korean film. That movie was also based on the infamous serial killing case still remaining unsolved to this day, and it is also about the desperation, frustration, and obsession of the people who wanted to find the man behind the horrific killings.
• Chaz Ebert at Cannes
Dear Roger: "We were once indivisible from every atom in the cosmos," and that is how I feel when I am sitting in the Palais watching movies at Cannes with a screen spread out as wide as the galaxy, the audience circling around like protons and neutrons breathing as one in empathy.