David Crosby: Remember My Name
It serves up the myth and a necessary corrective to it simultaneously.
* 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.
A dozen of the best films of the 2019 Sundance Film Festival.
Ebert Fellow Whitney Spencer reviews Chinonye Chukwu's Clemency, which premiered at the Sundance Film Festival.
Reviews of two incredible new films that are part of Sundance's U.S. Dramatic competition.
A look ahead at the 112 films that will play the Sundance Film Festival in January 2019.
A look back at my Telluride Film Festival Journal from August 28th to September 1st, 2008
An article about the Hollywood Foreign Press Association's Annual Grants Banquet scheduled for August 9th.
A review of the second season of Netflix's "Luke Cage," which premieres on Friday.
Rosanna Arquette’s 2002 documentary “Searching for Debra Winger” is so much more salient now in light of the recent reckoning, if a little more difficult to watch.
An article about the 2018 nominees of the Golden Globe Awards.
A list of films and special events to check out when attending this year's Chicago International Film Festival.
A review of four U.S. Dramatic Competition films from Sundance 2017, three of which work.
A look at what's coming to theaters this January through April.
The competition titles for Sundance 2017 have been announced.
A report on filmmaker Steve McQueen's Q&A at the 2016 Chicago International Film Festival.
A review of the latest Netflix Marvel series, Luke Cage.
A review of NBC's "State of Affairs," starring Katherine Heigl and Alfre Woodard.
Omer Mozaffar reflects on "12 Years a Slave."
Dan Callahan looks at the career of Alfre Woodard.
Streaming on Netflix Instant
When I watched "The Intouchables" (2011) at the local movie theater several months ago, I got a nagging dissatisfaction with that crowd-pleaser, which was about the warm friendship between a disabled man and a caregiver hired by him. The movie was surely a pleasant drama with two amiable lead performances, but I found it too mild and superficial; it merely loitered around thin stereotypes and worn-out clichés and it went no further than that.
Lawrence Kasdan's "Grand Canyon" didn't make a splash when it opened here in Mexico, and it's not the kind of feature that's ever shown on our TV, so hardly anybody I know has even heard about it. It's not an easy movie to describe. When people ask me about its subject, I say something like "It's about a group of people from Los Angeles living in despair who end up feeling better when they all get together and visit the Grand Canyon." Most of them seem to loose interest but the response of those who do see it is mostly overwhelming.
Watching "The Tree of Life" brought "Grand Canyon" to mind. The films couldn't be more different, but both deal with a search for a deeper meaning in our existence-- a sense of helplessness in trying to place ourselves in the grand scheme of things. They also lack defined plots or conventional structures.
SANTA MONICA, Calif. - "Election," "Boys Don't Cry" and "Being John Malkovich" were multiple award winners Saturday at the 15th annual Independent Spirit Awards - but 79-year-old Richard Farnsworth stole the show while winning as best male lead for his work in "The Straight Story."
It started like this. We were talking about her new film "Down in the Delta," where Alfre Woodard plays a hard-drinking woman from the Chicago projects who gets a fresh start on her uncle's farm in the Mississippi Delta. It is a good film, strong and touching, the directorial debut of the writer Maya Angelou. It opens Christmas Day. I said to Woodard, "You've never really made yourself available for exploitation, have you?"
The film "Beloved" (1998), which cost $75 million and has grossed only about $22 million, proves that mainstream audiences will not support a serious film on black themes. Or so the movie industry pundits conclude.
TORONTO -- We are a little past the halfway point of the 23rd Toronto Film Festival, and my colleagues are looking more hollow-eyed and gaunt than usual. It is a strange occupation, going to three or four movies a day, and critics begin to resemble fishlike creatures from unlit caverns. This year is worse than usual, because the facilities are better.
The saddest thing, Spike Lee thinks, is that in some neighborhoods the children no longer know how to play street games. The streets are so unsafe the kids hide inside, and decades of childhood culture have disappeared in a generation.