"Transcendence" is a serious science fiction movie filled with big ideas and powerful images, but it never quite coheres, and the end is a copout.
* 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.
Actors with "A-list" name recognition continue to migrate to television. "True Detective" uses Matthew McConaughey and Woody Harrelson to make great television.
Peter Sobczynski ranks 27 films by Brian De Palma.
Marie writes: The West Coast is currently experiencing a heat wave and I have no air conditioning. That said, and despite it currently being 80F inside my apartment, at least the humidity is low. Although not so low, that I don't have a fan on my desk and big glass of ice tea at the ready. My apartment thankfully faces East and thus enjoys the shade after the sun has crossed the mid-point overhead. And albeit perverse in its irony, it's because it has been so hot lately that I've been in the mood to watch the following film again and which I highly recommend to anyone with taste and a discerning eye.
Marie writes: Intrepid club member Sandy Kahn came upon the following recipe and wisely showed it to me, so that I might share it in turn with all of you. Behold the morning chocolate cookie - a healthy breakfast treat loaded with good stuff; like fiber and imported French chocolate.
"Gnarr" (85 minutes) is now available via most major on-demand platforms including cable, satellite, iTunes and Amazon Instant.
by Jeff Shannon
The United States could sure use a guy like Jon Gnarr right about now. Just take a look at the sorry state of our presidential campaigns and then consider what Gnarr achieved in his native Iceland: In January 2010 Gnarr, Iceland's most popular and controversial comedian, began to campaign for the office of Mayor of Reykjavik, Iceland's capital and largest city. What began as a joke snowballed into a seriously funny, but still very serious, protest vote that turned the tide of history.
Earning coverage in The New York Times, Gnarr's campaign was a referendum on the unchecked corruption, cronyism and incompetence that turned the richest country in Europe into the morally and financially bankrupt victim of a nationwide depression. Gnarr's campaign momentum was made possible by a climate of disgust and frustration with a political system that was broken beyond repair. In the wake of financial disaster on an unprecedented scale, Gnarr rode a wave of backlash against a gridlocked establishment.
As the playful yet firmly grounded documentary "Gnarr" unfolds, Americans can easily view the film as a reflection of our current political climate. Accounting for differences in scale (Iceland's entire population is slightly less than that of Wichita, Kansas), Gnarr's mayoral campaign, and the media circus surrounding it, is strikingly relevant to the political and economic woes of the world's top-ranking superpower. Watching the film, you can't help thinking, "What if...? "
Marie writes: Behold an extraordinary collection of Steampunk characters, engines and vehicles created by Belgian artist Stephane Halleux. Of all the artists currently working in the genre, I think none surpass the sheer quality and detail to be found in his wonderful, whimsical pieces...
Left to right: Little Flying Civil, Beauty Machine, Le Rouleur de Patin(click images to enlarge)
From Jason Haggstrom (haggie), Reel 3:
The opening shot of Robert Altman's "The Player" establishes the film as a self-reflexive deconstruction of the Hollywood system and those who run it. With its prolonged shot length, the take is also designed as a means to introduce the bevy of players who work on the lot and to setup the film's general plot--or at least its tone--as a thriller/murder mystery.
The first image in this extended opening shot is of a film set--a painting of one, to be precise. We hear the sounds of a film crew before a clapper pops into the frame. The (off-screen) director shouts "And... action" informing the audience that the film should be viewed as a construct, a film. The camera tracks back to reveal its location on a Hollywood studio lot where movies are described not in accolades of quality, but of quantity with an oversized sign that reads, "Movies, now more than ever."
The lot is filled with commotion. Writers come and go (some invited, some not) as do executives, pages, and assistants. The political hierarchy is highlighted through dialog and interactions that expose the value system of Hollywood. The most powerful arrive by car; high-end models pervade the mise-en-scène in all of the take's exterior moments. An assistant is made to run (literally, and in high heels) for the mail, and then -- before she even has a chance to catch her breath -- to park an executive's car.
Marie writes: you've all heard of Banksy. But do you know about JR...?(click to enlarge image)
Is Frank Darabont's "The Shawshank Redemption" the best motion-picture of all time? According to Internet Movie Database users, that is exactly the case. The advent of the internet likely brought together the largest congregation of movie fans in history, ready to express their opinions in the most accessed movie data base ever, and the best rated film there is "The Shawshank Redemption."
This isn't something to take lightly, true, but there are peculiarities about the website's data that needs to be considered. If you've followed their rankings in the past you may have noticed that the response by users to recently released films tends to be more extreme than that of older ones, in other words, a recent good movie might initially appear with a higher rating and a bad one with a lower one; films only seem to reach their rightful place with the passage of time and particularly with the accumulation of a larger number of votes. Their opening weekend is not the most accurate of moments to evaluate what audiences really think about them.
I have a friend who walked out of THERE WILL BE BLOOD during that baptism scene, when Daniel Day-Lewis exclaimed, "I've abandoned my child!" My friend was just divorced, lost custody of his children, and was tormented with the remorse that follows these things. As Daniel Day-Lewis shouted, my friend almost needed to cover his ears. He returned to his seat shortly afterwards, but needed that moment to collect himself.
I have another friend who was molested by a family friend. She refuses therapy, but she attributes multiple aspects of her personality, that she herself identifies as disorders - social ineptitude, sexual dysfunction and confusion, chronic despair - to that period of molestation. When she watched MYSTIC RIVER, a movie speaking of the physical and psychological abuse of children and the long term consequences on their hearts and minds, she found herself painfully revisiting those experiences, but not where we might expect.
Q. After seeing "The Girl with the Dragon Tattoo," on the car ride home, we couldn't help but discuss how different an American version of the film would be. Besides the obvious sexual situations and probably the villains' background, we came upon an obvious difference. An American film would have to explain to the audience the titular tattoo. It was great to see a movie leave so many plot threads unanswered. (Mark Coale, Editor/Publisher, www.odessasteps.com)
TORONTO — First the long windup. Then the fast pitch. The Toronto International Film Festival, always front-loaded, exploded over the weekend with movies day and night, all over town, every audience movie-savvy, every theater selling bran muffins right next to the popcorn, thousands of volunteers in their blue T-shirts like a jolly welcoming committee. Never a frown, and believe me, we moviegoers test them plenty.
Q. Your Answer Man item about the availability of Pauline Kael's criticism reminded me that I hadn't brought you up to date about our looking into a reprint of Going Steady. Our paperback editor checked out the situation regarding her work, and it appears that the small British firm of Marian Boyars Publishers Ltd. now has rights to most of her titles. Just talked with our paperback editor, and she confirmed that Little, Brown (the original publisher of Going Steady) had directed her to Kael's literary agency in England, Curtis Brown Ltd, since rights had reverted to Kael in 1988.
Kyle and Alison Eastwood with their father Clint on a big night out in Cannes.
I've just returned from the official dinner given by the Festival for Clint Eastwood's movie. I felt like Cinderella at the ball. The dinner was held at the swanky Restaurant La Palme d'Or on the Croisette. I wore my long evening gown just like all the French women wear at night. That's usually the last thing you want to do after watching movies all day, and most of the American women journalists skip the gowns, but I am a hybrid this year, not quite journalist and not quite guest. Besides, this was a special evening and I wanted to make a good showing for you.
"Barry Lyndon" opens with a bang.
Any good movie -- heck, even the occasional bad one -- teaches you how to watch it. And that lesson usually starts with the very first image. I'm not talking necessarily about titles or opening sequences (they're worth discussing, too -- but that's another article); I'm talking about opening shots. As those who have been reading Scanners (and my Editor's Notes on RogerEbert.com) know, two of my cardinal rules for movie-watching are:
1) The movie is about what happens to you while you watch it. So, pay attention -- to both the movie and your response. If you have reactions to, or questions about, what you're seeing, chances are they'll tell you something about what the movie is doing. Be aware of your questions, emotions, apprehensions, expectations.
2) The opening shot (or opening sequence) is the most important part of the movie... at least until you get to the final shot. (And in good movies, the two are often related.)
The opening shot can tell us a lot about how to interpret what follows. It can even be the whole movie in miniature. I'm going to talk about some of my favorites, and how they work, and then request that you contribute your own favorites for possible publication in future Scanners columns.
Xenu-phobia: Scientology in 'War'?
Among the influential awards and honors we will be tracking here:
"You should learn to keep your opinions OUT of your reviews!" Every critic I know has received at least one letter like that from an indignant reader. Of course, it's an absurd proposition; critics are paid to express their opinions, and the good ones (who exercise what is known across all disciplines as "critical thinking") are also able to cite examples and employ sound reasoning to build an argument, showing you how and why they reached their verdict.
HOLLYWOOD -- There's joy in Middle-earth tonight. "Lord of the Rings: The Return of the King" led the 76th annual Academy Awards with a record-tying 11 Oscars, including best picture and director. Vanquishing all opposition like the forces of Sauron, it won every category for which it was was nominated.
Are these the nominations for the 76th annual Academy Awards, or more winners from Sundance? This year’s nominations, announced early Tuesday, showed uncommon taste and imagination in reaching beyond the starstruck land of the Golden Globes to embrace surprising and in some cases almost unknown choices. It’s one of the best lists in years.
Shortly after 7:30 a.m. (CST) Tuesday, Motion Picture Academy President Frank Pierson and actress Sigourney Weaver will walk onstage at the Kodak Theater on Hollywood Boulevard and announce the nominations for the 76th Academy Awards, and this article will instantly become obsolete. But until that moment, we can guess and speculate and predict about this year's nominees, and here goes.
Ebert's Best Film Lists 1967 - present
Q. Something smells, uh, fishy. In your latest Answer Man column, you printed a letter saying there were "some groups" protesting "Finding Nemo" because of Ellen DeGeneres' involvement in the film. I've looked and looked, but the only references I can find to anybody protesting "Finding Nemo" both come from the Chicago Sun-Times, one of those
CANNES, France--The man the French call "Cleent" came to town for the weekend, and Cannes once again vibrated like a film festival. After several official entries that felt as if they threw away the movie and showed the deleted scenes, here was Clint Eastwood with "Mystic River," a film that actually had me intently involved in what would happen next.
Q. I just saw "Better Luck Tomorrow" and enjoyed it tremendously. However, most of my friends were disappointed by the ending. I myself would have liked to see more of the characters' reactions to the killing (especially Ben's after Stephanie chooses him). Then I read in a review that Ben's concluding voice-over narrative was modified from the version shown at Sundance in 2002, ostensibly to soften the ending and make the film more palatable for a wider audience. What was different in the original version? (Brian Wong, New York NY)