A stellar high school comedy with an A+ cast, a brilliant script loaded with witty dialogue, eye-catching cinematography, swift editing, and a danceable soundtrack.
* 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 review of Paramount Network's new series Yellowstone, co-created by writer/director Taylor Sheridan.
FFC Seongyong Cho on watching 2006's dystopian thriller "Children of Men" ten years later.
Ben Kenigsberg reviews the new sci-fi reverie from the director of "Waltz with Bashir."
Marie writes: The unseen forces have spoken! The universe has filled a void obviously needing to be filled: there is now a font made entirely of cats. Called Neko Font (Japanese for "cat font") it's a web app that transforms text into a font comprised of cat pictures. All you need to do is write something in the text box, press "enter" on your keyboard and Neko Font instantly transforms the letters into kitties! Thanks go to intrepid club member Sandy Kahn for alerting the Ebert Club to this important advancement in typography. To learn more, read the article "There is now a font made entirely of cats" and to test it out yourself, go here: Neko Font. Meanwhile, behold what mankind can achieve when it has nothing better to do....
Marie writes: Remember Brian Dettmer and his amazing book sculptures? Behold a similar approach courtesy of my pal Siri who told me about Alexander Korzer-Robinson and his sculptural collages made from Antiquarian Books. Artist's statement:"By using pre-existing media as a starting point, certain boundaries are set by the material, which I aim to transform through my process. Thus, an encyclopedia can become a window into an alternate world, much like lived reality becomes its alternate in remembered experience. These books, having been stripped of their utilitarian value by the passage of time, regain new purpose. They are no longer tools to learn about the world, but rather a means to gain insight about oneself."
Marie writes: the ever intrepid Sandy Khan recently sent me a link to ArtDaily where I discovered "Hollywood Unseen" - a new book of photographs featuring some of Hollywood's biggest stars, to published November 16, 2012."Gathered together for the first time, Hollywood Unseen presents photographs that seemingly show the 'ordinary lives' of tinseltown's biggest stars, including Rita Hayworth, Gary Cooper, Humphrey Bogart and Marilyn Monroe. In reality, these "candid' images were as carefully constructed and prepared as any classic portrait or scene-still. The actors and actresses were portrayed exactly as the studios wanted them to be seen, whether in swim suits or on the golf course, as golden youth or magic stars of Hollywood."You can freely view a large selection of images from the book by visiting Getty Images Gallery: Hollywood Unseen which is exhibiting them online.
(click to enlarge image)
Marie writes: It's that time of year again! Behold the shortlisted nominees for The Turner Prize: 2012. Below, Turner Prize nominee Spartacus Chetwynd performs 'Odd Man Out 2011' at Tate Britain on October 1, 2012 in London, England.
(click image to enlarge.)
"Dear Mr. Spider;I am profoundly sorry to have taken you from your home in the woods, when I was picking Himalayan Blackberries on Monday afternoon. I didn't see you fall into my bucket and which was entirely my fault; I must have bumped into your web while reaching for a berry. Needless to say, I was surprised upon returning home with my bucket full, to suddenly see you there standing on a blackberry and looking up at me." - Marie
(photo recreation of incident)
Although most religions forbid it, human societies throughout history have accepted suicide as a reality. Sometimes, as in Japan, it was seen as a matter of personal honor. Usually it was seen as an act of despair, or a manifestation of insanity. It can also be seen as a rational act, and to assist someone in committing it can be seen as an act of mercy.
I have never, even in my darkest hours, considered suicide. But with my troubles I have been fortunate; I've never had unbearable physical pain. In Barry Levinson's movie "You Don't Know Jack," Dr. Jack Kevorkian's best friend says his mother told him: "Imagine the worst toothache you've ever had. Now imagine that's how it feels in every bone of your body."
Spending almost two hours with the relentlessly drunk character is not a pleasant thing at all, and it is also not easy to watch the man who chooses to abandon himself to his own hell. He is almost near at the bottom. All he can do is moving further to the final destination he has been reaching for. He still has some fancy about getting out of his torment, but it only reminds him that he has already crossed the line. He screams out of frustration near the end of the movie, "It's not possible -- not in this world!"
John Huston's "Under the Volcano"(1984) poignantly looks at one of the bleakest states of mind. This is a sad portrayal of a man struggling with his addiction and the agonizing contradiction resulting from it. As one character in the movie says, no one can live without love, but he cannot accept it even if he has desperately yearned for.
The movie is mainly about one unfortunate day of the former British consul Geoffrey Firmin (Albert Finney) who has been stuck in Cuernavaca, Mexico. According to him, he resigned his post for himself, but that may be not true considering his present state. He is a drunkard going through the final stages of alcoholism where the drinking is necessary for getting "sober." He says he can deal with his addiction ("Surely you appreciate the fine balance I must strike between, uh, the shake of too little and, uh, the abyss of too much"), but his abstinence is just the brief moment of looking at his glass. His body soon craves for alcohol, he frantically searches for the bottle, and, after satisfying the need, he passes out.
Tony Curtis and Janet Leigh at a Charity party in 1957 with Frank Sinatra and his then-wife, Ava Gardner. (click to enlarge) Marie writes: the best celebrity photos are invariably candid shots. :-)
Screeeeech! The "jewel"-encrusted Sidekick doesn't help.
Edward Copeland asks: Do certain performers affect you like the sound of nails on a chalkboard? He lists Danny Huston, Kevin Costner, Kate Capshaw and Kim Cattrall among his most shudder-worthy. Some have charisma on the screen, and some don't. Or, at least, some of us are mystified by what others see in them (I could never understand the whole Ronald Reagan-as-president thing; he always seemed to me like a minor audioanimatronic attraction at Disneyland: Doddering Moments With Mr. Reagan, the Non-Communicator).
For me, it really is an involuntary, visceral response. I'm not sure I can adequately explain my instinctive revulsion for the following (in some cases the reaction has developed over time, like an allergy, as if I've built up antibodies against them), but here they are, in no particular order:
Tom Cruise. Incapable of convincingly expressing any emotion beyond grim determination. Unless it's intensely focused ambition.
Adam Sandler. Pauly Shore, but with a more limited range. Always looks as though he's going to start laughing at how funny he thinks he is. (Yes, I make an exception for "Punch Drunk Love," but I still would rather have been watching someone else. And that one had Mary Lynn Rajskub. She saves America every week on "24," and she saved Sandler's behind in this movie.)
Robin Williams. Not well-cast in human roles. (See all of the above.)
Cuba Gooding, Jr. His career after he won an Oscar for "Jerry Maguire" has made it almost impossible to sit through any of the good stuff he did before then. Tried to watch "Boyz N the Hood" recently? It's so preachy and sanctimonious it almost looks like a Matty Rich film now, but in fairness that's probably more John Singleton's fault than Gooding's alone.
That blonde heiress with the dead-trout eyes who's famous for her night-vision porno video and being in the tabloids a lot. Perfect example of "horrisma." She's like Ann Coulter in drag. Or not in drag. I'm not really sure which. But both have all the appeal of impetigo.
Chris Rock. The comedy version of Tom Cruise. Always trying way too hard to convince you... of something.
Sandra Bullock. Like watching a coconut on a stick.
Mel Gibson. "Braveheart" finally did it for me (and that was a whole five years before "What Women Want"). He enjoyed torturing himself way, way too much. Just as there is Young Elvis and Fat Elvis, there's Young Mel (pre-"Lethal Weapon 2") and Creepy Mel ("Air America" forward). Watching "The Road Warrior," it's hard to comprehend what later became of that cool guy who once played Mad Max.
Harrison Ford. Once he had a sense of humor about himself -- on screen, at least. It doesn't help that he hasn't made a decent movie ("Clear and Present Danger") in 13 years. He's great in "The Conversation," though.
Katie Holmes. Zombified. Why do I even know who she is?
Shaved vagina girl. Has she made any movies or is she just on the Internets?
Lindsay Lohan. From Mean Girl to Lucky Girl (cast with Meryl Streep and Lily Tomlin in an Altman movie). Now it's over. She's the Alicia Silverstone of tomorrow, but without the comic timing. Ten years ago, John Waters might have been able to salvage her career. Now it's too late. (OK, I'm sorry: That Alicia Silverstone crack was too mean -- to Alicia Silverstone.)
Jim Carrey. See Chris Rock, above.
Natalie Portman. It's as though she aspires to be forgettable, like generic "citrus"-flavored Pixy Stix. For some reason she reminds me of Veruca Salt on Xanax and I want her to swell up into a big blueberry. But I feel that way about nearly everyone who appeared in the "Star Wars" prequels.
More comments at Copeland's place.
Latest Contrarian Week News:
In his New York Observer year-end wrap-up (and ten-best list), Andrew Sarris attempts to steal the thunder of one of his New York "alternative weekly" rivals.
Sarris writes: Fortunately, modern technology makes it almost impossible for a good movie to get “lost” because of end-of-the-year mental exhaustion. So, with the proviso that I still have a great deal of catching up to do, here are my considered choices for the various 10-best categories, and one of my patented 10-worst lists under the provocative heading of “Movies Other People Liked and I Didn’t.” I am not at all deterred in dishing out my annual supply of negativity by the correspondent who informed me last year that he preferred all the films on my 10-worst list to all the films on my 10-best list. I have long ago become resigned to my fate as a reviled revisionist ever since my first column in The Village Voice in 1960 hailed Alfred Hitchcock as a major artist for "Psycho," and inspired more hate mail than any Voice column had received up to that time. That clinched my job at the ever-contrarian Voice, and I have simply gone on from there.So, how contrarian is the "reviled revisionist" 46 years later? Let's see:
"The Departed" as best film of the year. (Only in New York!)
"Blood Diamond" as #5.
Best Supporting Actresses: 1) Jennifer Connelly, "Blood Diamond" 2) Gong Li, "Miami Vice" 3) Maggie Gyllenhaal, "World Trade Center"
And then there's this: Other striking male performances were provided by: Leonardo DiCaprio, Matt Damon, Mark Wahlberg, Martin Sheen, Ray Winstone, Alec Baldwin and Anthony Anderson in The Departed; Edward Norton, Liev Schreiber and Toby Jones in The Painted Veil; Wim Willaert in When the Sea Rises; Leslie Phillips and Richard Griffiths in Venus; Clive Owen, Denzel Washington, Christopher Plummer, Willem Dafoe, and Chiwetel Ejiofor in Inside Man; Ken Watanabe, Kazunari Ninomiya, Tsuyoshi Ihara, Ryo Kase and Shido Nakamura in Letters from Iwo Jima; Greg Kinnear, Steve Carell, Alan Arkin and Paul Dano in Little Miss Sunshine; Edward Norton, Paul Giamatti and Rufus Sewell in The Illusionist; Patrick Wilson, Jackie Earle Haley, Noah Emmerich, Gregg Edelman and Ty Simpkins in Little Children; Keanu Reeves, Christopher Plummer and Dylan Walsh in The Lake House; Nicolas Cage, Michael Pena and Stephen Dorff in World Trade Center; Tim Blake Nelson, Pat Corley, Jeffrey Donovan, Stacy Keach and Scott Wilson in Come Early Morning; Ryan Gosling and Anthony Mackie in Half Nelson; Jason Schwartzman, Rip Torn, and Danny Huston in Marie Antoinette; Matt Damon, Michael Gambon, Alec Baldwin, William Hurt, Billy Crudup, Robert De Niro, Keir Dullea, Timothy Hutton, Eddie Redmayne, Mark Ivanir and Joe Pesci in The Good Shepherd; Hugh Jackman, Patrick Stewart, Ian McKellen, Kelsey Grammer, James Marsden, Shawn Ashmore, Aaron Stanford, Vinnie Jones and Ben Foster in X-Men: The Last Stand; Mads Mikkelsen, Jeffrey Wright, Giancarlo Giannini, Simon Abkarian, Sebastien Foucan, Jesper Christensen and Tobias Menzies in Casino Royale; Ebru Ceylan and Mehmet Eryilmaz in Climates; Adrien Brody, Ben Affleck and Bob Hoskins in Hollywoodland; Jamie Foxx, Danny Glover, Keith Robinson and Hinton Battle in Dreamgirls; Brian O’Halloran, Jeff Anderson, Jason Mewes, Trevor Fehrman, Kevin Smith and Jason Lee in Clerks II; Justin Kirk and Jamie Harrold in Flannel Pajamas; Stanley Tucci, Simon Baker and Adrian Grenier in The Devil Wears Prada; Will Ferrell, Dustin Hoffman and Tom Hulce in Stranger Than Fiction; Samuel L. Jackson, Curtis Jackson, Chad Michael Murray, Sam Jones III and Brian Presley in Home of the Brave; Harris Yulin, Ty Burrell and Boris McGiver in Fur: An Imaginary Portrait of Diane Arbus; Max Minghella, John Malkovich, Jim Broadbent, Matt Keeslar, Ethan Suplee, Joel David Moore and Nick Swardson in Art School Confidential; Joseph Cross, Brian Cox, Joseph Fiennes and Alec Baldwin in Running with Scissors; Jamie Foxx, Colin Farrell, Ciarán Hinds, Justin Theroux, Barry Shabaka Henley, Luis Tosar and John Ortiz in Miami Vice; Michael Sheen, James Cromwell, Alex Jennings, Roger Allam and Tim McMullan in The Queen; Samuel L. Jackson, Ron Eldard, William Forsythe, Anthony Mackie, Marlon Sherman and Clarke Peters in Freedomland; Vin Diesel, Peter Dinklage, Linus Roache, Alex Rocco, Ron Silver and Raul Esparza in Find Me Guilty; Josh Hartnett, Bruce Willis, Stanley Tucci, Morgan Freeman and Ben Kingsley in Lucky Number Slevin; Hugh Grant, Dennis Quaid, Chris Klein, Shohreh Aghdashloo, John Cho, Tony Yalda, Sam Golzari and Willem Dafoe in American Dreamz; Keanu Reeves, Robert Downey Jr., Woody Harrelson and Rory Cochrane in A Scanner Darkly; Adam Beach, Ryan A. Phillippe, Jesse Bradford, John Benjamin Hickey, Jon Slattery, Barry Pepper, Jamie Bell, Paul Walker and Robert Patrick in Flags of Our Fathers; Chow Yun-Fat in Curse of the Golden Flower; Sergi López, Doug Jones, Álex Angulo and Federico Luppi in Pan’s Labyrinth; Bill Nighy in Notes on a Scandal.Take that, A----- W----!
Film festivals allow you to get way ahead on your movie viewing. At Sundance, Cannes, Telluride and Toronto you can see movies that will be released throughout the coming year and into the next. That's what Roger Ebert does every year, and here are some of the movies he's already written about for the next few months, into November....
My friend the film critic Richard T. Jameson made a clever and brilliant observation about Jonathan Glazer's "Birth," my favorite movie of 2004, before I'd even seen it. RTJ said he thought it was as if the Surrealist masterpiece "Un Chien Andalou" had been adapted into a narrative feature film. And so it is. I'd almost forgotten about this by the time I saw the movie, but there was something about that "Ten Years Later" title at the beginning that tweaked my movie-memory... (Titles like that always make me think of "Un Chien Andalou.") But by the time Danny Huston was pushing a piano across the room I was jumping out of my seat.
Robert C. Cumbow (former contributor to RTJ's Movietone News, a publication of the Seattle Film Society) and Dennis Cozzalio have both written eloquently and appreciatively about "Birth," and its Kubrickian connections in particular (and I'm working on something else in connection with the film for Scanners and RogerEbert.com -- stay browsed!). But I wanted to contribute a few observations (specifically visual ones) from the Andalusian Dog perspective, because echoes of Buñuel (particularly "Un Chien Andalou" and "Belle de Jour") reverberate throughout "Birth."... [SPOILERS AHEAD]
CANNES, France – Like any good bookie, Derek Malcolm carries his odds in his head. He revises them after every screening of a film in the official competition. Wednesday morning, the odds got a little longer for Sofia Coppola’s “Marie Antoinette,” which is tipped as a front-runner for the Palme d’Or.
Howard Hughes: Leonardo DiCaprio, Katharine Hepburn: Cate Blanchett, Ava Gardner: Kate Beckinsale, Noah Dietrich: John C. Reilly, Juan Trippe: Alec Baldwin, Sen. Brewster: Alan Alda, Professor Fitz: Ian Holm, Jack Frye: Danny Huston, Jean Harlow: Gwen Stefani, Errol Flynn: Jude Law, Johnny Meyer: Adam Scott, Glenn Odekirk: Matt Ross, Faith Domergue: Kelli Garner, Mrs. Hepburn: Frances Conroy, Robert Gross: Brent Spiner, Louis B. Mayer: Stanely DeSantis, Joseph Breen: Edward Herrmann
It was a year when more movies opened than during any other year in memory. A year when the big Hollywood studios cast their lot with franchises, formulas, sequels, and movies marketed for narrow demographic groups--focusing so much on "product" instead of original work that they seemed likely to be shut out of the Oscars, as they were essentially shut out of the Golden Globes. A year when independent and foreign films showed extraordinary vitality. A wonderful year, that is, for moviegoers who chose carefully, and a mediocre year for those took their chances at the multiplex.