Pride and Prejudice and Zombies
The small, deadpan moments in "Pride and Prejudice and Zombies" have more of an impact than the massive, noisy set pieces.
Matt Zoller Seitz is the Editor-in-Chief of RogerEbert.com. He is also the TV critic for New York Magazine & Vulture.com, and a finalist for the Pulitzer Prize in criticism.
A Brooklyn-based writer and filmmaker, Seitz has written, narrated, edited or produced over a hundred hours’ worth of video essays about cinema history and style for The Museum of the Moving Image and The L Magazine, among other outlets. His five part 2009 video essay Wes Anderson: The Substance of Style was later spun off into the hardcover book The Wes Anderson Collection. Seitz is the founder and original editor of The House Next Door, now a part of Slant Magazine, and the publisher of Press Play, a blog of film and TV criticism and video essays. He is the director of the 2005 romantic comedy "Home" and the forthcoming science fiction epic "Rabbit of the Sith." He is currently writing memoir titled "All the Things that Remind Me of Her."
A plea for "sanity" in discussing Allen/Farrow; Phillip Roth on why he's not going back to fiction; Russell Brand on addiction; The Tonight Show's forgotten host.
R.I.P., Phillip Seymour Hoffman and Eduardo Coutinho; the Allen-Farrow thing, catalogued and linked; Kristin Scott Thomas' ambivalence; Chuck Jones, honored.
Matt Zoller Seitz on why Philip Seymour Hoffmann mattered.
Matt Zoller Seitz interviews Steve James, director of "Life Itself," a documentary adapting Roger Ebert's memoir.
An interview with New Zealand stuntwoman Zoë Bell, best known for hanging on the hood of Kurt Russell's car in "Death Proof," now the star of her own action vehicle, "Raze"
Matt Zoller Seitz's Top 10 films of 2013.
I'm obsessed with Marlon Brando. I don't know if it's because of his genius or because when I imitate him, I sound like Popeye.
A tribute to RogerEbert.com contributor, film critic and activist Jeff Shannon, who died Dec. 20, 2013.
Peter O'Toole, who died this weekend at 81, was great in great films and great fun in bad ones, and equally convincing as a rascal and a saint.
That a film as searing and necessary as "12 Years a Slave" is having trouble drawing large audiences is a testament to the power of denial. That so few mainstream films have been made about slavery in America is also a testament to the power of denial.