Zombieland: Double Tap
The vast majority of sequels are unnecessary, but Zombieland: Double Tap feels particularly so, especially coming out a decade after the original.
* 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.
An assessment of the image of the black woman on the big screen since Halle Berry's Oscar win.
Difficult is a gendered term fueled by the Hollywood machine and maintained by the belief that actresses aren’t responsible for the achievement of their films.
An interview with writer/director/actor Tyler Perry about "Tyler Perry's Boo! A Madea Halloween."
Aziz Ansari blasts Trump; Communal magic of Filmfront; Scorsese on "King of Comedy"; Brexit's impact on British film; Anthony Hemingway on "Underground."
A piece on extending the conversation about diversity at the Oscars to include all minorities.
An appreciation of Elizabeth Pena.
Part two of our countdown of twelve great scenes set around Christmas: #8–#5.
The aesthetic politics of filming black skin; saving Memphis; a Richard Linklater retrospective; "Fisher King" commentary; bankrupting emergency care.
PBS's "American Masters" presents "Margaret Mitchell: American Rebel" and "Harper Lee: Hey, Boo," back-to-back documentaries about two white American women who won Pulitzer Prizes for their first and only best-selling novels, Monday, April 2 beginning at 9 p.m. (Check local listings.) Both will be available via PBS On Demand and are currently on DVD.
If you're hoping for the whirling of petticoats, a colorful Virginia reel and the coquettish fluttering of lashes on the old plantation, you might be surprised by American Master's "Margaret Mitchell: American Rebel." By rebel, director Pamela Roberts doesn't just mean Johnny Reb. On the other hand, if you hope that the author of Gone With the Wind is burning in hell for conjuring up a romantic fantasy of slavery and antebellum plantation life, you might be surprised. Mitchell was a wild young woman who did some shocking dances in her day, but eventually settled down and did good in ways that benefited the citizens of her hometown Atlanta and beyond.
What could be rebellious about a woman who romanticized a plantation lifestyle in which women were raised to be pretty ornaments and good wives in her 1936 novel of the Old South, "a civilization gone with the wind..."? Today, millions of women still live out their Scarlett O'Hara fantasies at their weddings with hoop-skirted bridal gowns, and through Civil War or Southern ball re-enactments. Not so many line up to portray slaves. The documentary uses many clips from the blockbuster 1939 movie, contrasted with photographs of Mitchell in her own wild youth. Even as one might enjoy the sweeping romance of the motion picture epic and attempt to ignore the racism, I suspect most people are more politically sympathetic with Alice Randall's 2001 parody The Wind Done Gone, which re-imagined Mitchell's story from the slaves' point of view.
The Grand Poobah writes: I saw this stag in the Michigan woods near our country place, where I am still working on my memoir. (click to enlarge)
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.