A review of Netflix's newest documentary series, including a chapter by Alex Gibney.
Matt writes: At the end of a year overwhelmed with loss, it was devastating to lose two of the brightest stars in the Hollywood galaxy, a mother and daughter duo for the ages. Debbie Reynolds and her daughter, Carrie Fisher, each achieved stardom at age 19—the former in 1952’s “Singin’ in the Rain,” the latter in 1977’s “Star Wars.” These pictures will forever stand as two of the all-time greatest entertainments, and Roger Ebert penned Great Movies essays on both of them, claiming that “there is no movie musical more fun” than “Singin’ in the Rain,” while hailing “Star Wars” as a masterpiece that “melded a new generation of special effects with the high-energy action picture.”
A CIFF 2016 dispatch on Fisher Stevens and Alexis Bloom's "Bright Lights," Julia Ducournau’s "Raw," and Ken Loach's "I, Daniel Blake."
With "Doll & Em" and "Ghetto Klown", Emily Mortimer and John Leguizamo turn personal stories into wildly creative television.
Wes Anderson talks about the sources behind "The Grand Budapest Hotel", dining with his cast every night on location, and the comic gifts of Ralph Fiennes.
• As told to Roger Ebert
Al Pacino, Christopher Walken and Alan Arkin walk into a hotel room, and that sounds like the set-up for a joke. It's more like a long-delayed punchline. These guys have been stars for more than 40 years, but until "Stand Up Guys," they've all three never been in a movie together. Arkin and Pacino were in "Glengarry Glen Ross" together, and Walken and Pacino were both in "Gigli," but that's as far as it goes.
I mention they go way back.
"Yes, absolutely," Walken says. "I've known Al for decades, from New York and from, you know..."
"He didn't know I was an actor," Pacino says, "until we did this movie. He'd just see me around the street a lot."
Marie writes: Intrepid club member Sandy Kahn came upon the following recipe and wisely showed it to me, so that I might share it in turn with all of you. Behold the morning chocolate cookie - a healthy breakfast treat loaded with good stuff; like fiber and imported French chocolate.
He had these smiling eyes. And a self-deprecating manner which seemed to belie his very good looks ("He's so cute," my 19-year-old assistant exclaimed), about which he was fairly oblivious. Most of all, he was simply a very good guy.
Gary Winick, a many-hats-wearing filmmaker and digital pioneer, died of complications following a 2 year battle with brain cancer on February 27th, the day of the Academy Awards --- an especially sad irony for a vital man, weeks shy of 50, whose passion for film and storytelling had filled the decades of his adult life.
The private memorial service was held at the Time-Warner Center in Winick's beloved New York. Overlooking Central Park as the sun set, an invited group of 400 (some going back to childhood, some famous, many with whom he'd worked, even some he'd made sure got a decent meal when they were struggling) assembled to watch film clips, to hear and tell stories - to cry, yes, but also to laugh at so many experiences they certainly cherish now.
Marie writes: ever stumble upon a photo taken from a movie you've never seen? Maybe it's an official production still; part of the Studio's publicity for it at the time. Or maybe it's a recent screen capture, one countless fan-made images to be found online. Either way, I collect them like pennies in jar. I've got a folder stuffed with images, all reflecting a deep love of Cinematography and I thought I'd share some - as you never know; sometimes, the road to discovering a cinematic treasure starts with a single intriguing shot....
A Streetcar Named Desire (1951) Cinematography: Harry Stradling(click images to enlarge)
Marie writes: I love cinematography and worship at its altar; a great shot akin to a picture worth a thousand words. The best filmmakers know how to marry words and images. And as the industry gears up for the Golden Globes and then the Oscars, and the publicity machine starts to roll in earnest, covering the Earth with a daily blanket of freshly pressed hype, I find myself reaching past it and backwards to those who set the bar, and showed us what can be accomplished and achieved with light and a camera...
Cinematography by Robert Krasker - The Third Man (1949) (click to enlarge images)
HOLLYWOOD — "The Hurt Locker," a film that was made with little cash but limitless willpower, defeated the highest-grossing film in history and won the best picture Oscar here Sunday night. The director of the spine-chilling war drama, Kathryn Bigelow, became the first woman to ever win the best director Oscar. James Cameron, director of "Avatar" — and her former husband — cried all the way to the bank.