Burning Cane
God is destined to forever be a complicated subject for most mortals, yet there’s no question this film has made me a believer in the…
David Michod
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Hesher (2011)
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Written by
Roger Ebert
* 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.
Christopher Abbott Shines in Hulu's Messy Catch-22 Adaptation
A review of Hulu's Catch-22, which premieres with all six episodes on Friday, May 17.
Comfortable Shoes: Joel Edgerton on “The Gift”
An interview with Joel Edgerton, star/writer/director of "The Gift."
The Individual Top Tens of 2014
Lists from our critics and contributors on the best of 2014.
Video Interview: Guy Pearce & Robert Pattinson on "The Rover"
A conversation with Guy Pearce & Robert Pattinson, stars of "The Rover."
LA & NY crix love The Social Network and Carlos
According to the Los Angeles Film Critics Association and the New York Film Critics Circle, the two best films of 2010 are David Fincher's "The Social Network" and Olivier Assayas's "Carlos." I've no quarrel with that. In fact, those two movies are at the top of a list I made for a critics' poll that will be published any day now because they're both masterful, multi-layered works that I found as stimulating to think about as they are engrossing to watch. Both the LA and NY groups chose "The Social Network" as best picture and "Carlos" as best (and most) foreign-language film -- all five and a half hours and 11 languages: English, French, German, Spanish (with a Venezuelan accent), various dialects of Arabic, Russian, Hungarian, Italian... LAFCA left no doubt about its esteem for both movies, with "Carlos" coming in as first runner-up for best picture and Fincher and Assayas sharing the director's prize. (Both groups also gave "Black Swan" their best cinematography prizes.)
Complete lists of the winners are below, but I wanted to take this opportunity to make some comparisons between these two movies. No, I don't think either of them has much to do with "realism," but both build their disputed nonfictional narrative webs around rather opaque, fictionalized central characters who are seen as heroes by some, villains by others, and neither by the movies themselves. Both "Carlos" (the revolutionary alias of Ilich Ramírez Sánchez, played by Edgar Ramirez) and "Mark Zuckerberg" (the Facebook founder played by Jesse Eisenberg) are projections -- like profiles compiled by intelligence agencies or... Facebook pages. Either film could begin with a version of these words, which preface each of the three parts of "Carlos":
This film is the result of historical and journalistic research.
Because of controversial gray areas in Carlos' life, the film must be viewed as fiction, tracing two decades in the life of a notorious terrorist.
His relations with other characters have been fictionalized as well.
The three murders on Rue Toulier are the only events depicted in this film for which Ilich Ramirez Sanchez was tried and sentenced.
The Drugstore Publicis bombing is still under investigation.
