"Bears" could have used a lot more science; more substantive information in the place of wacky one-liners. Still, the images trump everything.
Bollywood star Ranbir Kapoor talks about growing up in a famous acting family, the growing audience for Indian cinema in the United States and his latest film, "Besharam."
Film Journalist Katherine Tulich interviews "Rush" director Ron Howard and the film's stars, Chris Hemsworth and Daniel Brühl.
Actor Joseph Gordon-Levitt discusses "Don Jon," his first film as a writer-director.
Filmmakers Martha Shane and Lana Wilson talk about trying to calm down the rhetoric in the discussion of late-term abortion in their film "After Tiller."
Director David Gordon Green has had a remarkably eclectic career, from delicate indies like "George Washington" to stoner comedy "Your Highness," with stops along the way for the "Halftime in America" Chrysler ad and episodes of HBO's "Eastbound & Down." What keeps him going?
Katherine Tulich talks to Julie Delpy, Ethan Hawke and Richard Linklater about returning once again to the characters from "Before Sunrise" and "Before Sunset" for the new film "Before Midnight."
You emailed me the questions to this interview on March 15, 2013. In your March 16th reply to my email, you said: The piece will go out to all my print syndication customers. (“Print!” How times change.)
"Room 237" is a captivating and engrossing new documentary exploring the covert symbols and whacked-out theories that have obsessed ardent fans of Stanley Kubrick's 1980 horror film, "The Shining." From a personal secret statement about the Holocaust to a cryptic confession about his involvement in a supposed NASA cover of the Apollo 11 moon landing, "Room 237" offers the wildly diverse interpretations of five obsessed film fanatics regarding Kubrick's possible hidden intentions. Katherine Tulich interviewed the film's LA based director Rodney Ascher and producer Tim White for this video report.
"This is the best use of 3-D I've ever seen," I say to Ang Lee. And I mean it. His "Life of Pi," based on Yann Martel's novel about a shipwrecked boy, is an astonishment, not least because it never uses 3-D for its effect, but instead as a framing device for the story as a whole. There are, for example, shots where the point of view is below the sea's surface, looking up at the boat and into the sky beyond. The surface of the sea seems to be an invisible membrane between the water and the air. I've never seen anything like it.
There's a tense scene in Ben Affleck's new thriller "Argo" that dramatizes how the magic of Hollywood is potent all over the world. The movie, based on a true story, involves a cockamamie scheme to rescue six American embassy workers during the 1979 Iran hostage crisis by passing them off as location scouts for a non-existent science-fiction epic.