Dolemite Is My Name
Dolemite is My Name is a typical biopic buoyed by its unrelenting hilarity, its affection for its subject and commitment to the time and place…
* 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.
Horror has long been a vehicle for expressing the ways in which relationships of different generations crumble.
The famed director of Romeo & Juliet, La Traviata, Jesus of Nazareth and more passed away this weekend at the age of 96.
The Witch director Robert Eggers' The Lighthouse is the first movie at Cannes 2019 that actually looks like a classic. Plus: Gaspar Noé's mystery midnight movie, Lux Aeterna.
A review of Jim Jarmusch's new film with Bill Murray and Adam Driver.
Watching a Lars von Trier film is entering into a deranged agreement.
61 films from all 28 EU nations will screen this month at the Chicago European Union Film Festival.
A dispatch from the New York Film Festival, including thoughts on the latest from Arnaud Desplechin and Claire Denis.
A look at the career of Willem Dafoe.
A report on the opening day press conference for Cannes 2017 and the premieres of "Ismael's Ghosts" and "Loveless."
A preview of the 2017 Cannes Film Festival.
A preview of this year's Miami Film Festival.
A preview of dozens of films coming out this summer.
A celebration of actresses Jane Birkin and Charlotte Gainsbourg in anticipation of an upcoming series at the Film Society of Lincoln Center in NYC.
A TIFF dispatch with "Demon," "Every Thing Will Be Fine" and "London Road."
An interview with actor Omar Sy, star of "The Intouchables" and "Samba."
"Snowpiercer" and the future of film; The longer cut of "Nymphomaniac"; Pauline Kael's worst reviews; "Alive" earns a rave at Toronto; The bold creativity of "The Leftovers."
Nude photo hacking is a sex crime; 13 things you never noticed in Wes Anderson films; Lars von Trier's new TV show; Whit Sillman's 'Cosmopolitans'; Patton Oswalt quits Twitter.
Day nine of the Cannes Film Festival finds our reporter covering Leviathan and Asia Argento's Misunderstood.
MIchel Gondry's new documentary about Noam Chomsky fits into Gondry's body of work, if you look at his whole body of work and not just the most popular films.
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: Now this is really neat. It made TIME's top 25 best blogs for 2012 and with good reason. Behold artist and photographer Gustaf Mantel's Tumblr blog "If we don't, remember me" - a collection of animated GIFs based on classic films. Only part of the image moves and in a single loop; they're sometimes called cinemagraphs. The results can be surprisingly moving. They also can't be embedded so you have to watch them on his blog. I already picked my favorite. :-)
Marie writes: For those unaware, it seems our intrepid leader, the Grand Poobah, has been struck by some dirty rotten luck..."This will be boring. I'll make it short. I have a slight and nearly invisible hairline fracture involving my left femur. I didn't fall. I didn't break it. It just sort of...happened to itself." - Roger
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Making lists is not my favorite occupation. They inevitably inspire only reader complaints. Not once have I ever heard from a reader that my list was just fine, and they liked it. Yet an annual Best Ten list is apparently a statutory obligation for movie critics.
My best guess is that between six and ten of these movies won't be familiar. Those are the most useful titles for you, instead of an ordering of movies you already know all about.
One recent year I committed the outrage of listing 20 movies in alphabetical order. What an uproar! Here are my top 20 films, in order of approximate preference.
The Grand Poobah writes: Unless we find an angel, our television program will go off the air at the end of its current season. There. I've said it. Usually in television, people use evasive language. Not me. We'll be gone. I want to be honest about why this is. We can't afford to finance it any longer.
To read the full story, visit "The Chimes at midnight" on the Blog.
"Melancholia" is now available On Demand; in theaters November 7.
Of the Four Bodily Humours -- sanguine (blood), choleric (yellow bile), melancholic (black bile) and phlegmatic (phlegm) -- Lars von Trier has probably been most closely associated with the choleric, as expressed in angry, violent, inflammatory, irritating and caustic films such as "Breaking the Waves," "The Idiots," "Dancer in the Dark," "Dogville," "Manderlay," "Antichrist"... The latter felt to me like a glossy fashion magazine's idea of a horror movie ("Evil Vogue" -- all it was missing were the scratch-n-sniff Odorama perfume ads), but von Trier¹ claimed it grew from deep inside a cocoon of depression.
"Melancholia" strikes me as a more focused and harrowing portrait of clinical depression, a glowing, black-bile-on-velvet portrait of despair so bleak that it destroys the entire planet. Two planets, in fact: one is Earth and the other (quite similar looking but much, much larger) called Melancholia, a kind of massive-planet-sized anti-matter particle which we see collide with and engulf the Earth (from deep in space) in the opening montage... and again, from a terrestrial perspective, at the end.
If Terence Malick's "Tree of Life" is, as I described it earlier in the year, "a movie about (and by) a guy who wants to create the universe around his own existence in an attempt to locate and/or stake out his place within it," then "Melancholia," by my reckoning, is a movie about (and by) a person whose depression is so inescapably great and soul-destroying that it envelops and annihilates the world. Because it has to. There's nowhere else for it to go. Also, it's important for the depressed character/filmmaker to firmly assert that the only life in the universe is on Earth, and that all of it is annihilated. Hope of any kind is not an option. Besides, anything less that than the obliteration of absolutely everything would spoil the perfection of the happy ending for von Trier and Justine (Kirsten Dunst), his Bride of Oblivion.