Spider-Man: Into the Spider-Verse
Directors Bob Persichetti, Peter Ramsey, and Rodney Rothman have breathed thrilling new life into the comic book movie. The way they play with tone, form…
* 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 look back at the major films that screened at the Los Cabos Film Festival earlier this month.
A preview of the 56th annual New York Film Festival.
A review of three of this year's biggest Cannes hit from international master filmmakers.
Hirokazu Kore-eda's "Shoplifters" took the Palme d'Or and Asia Argento reiterated her allegations against Harvey Weinstein at the awards ceremony.
Ben Kenigsberg reviews Nuri Bilge Ceylan's "The Wild Pear Tree" and makes predictions for the 2018 Cannes awards.
Reviews from the Cannes Film Festival of the latest by Jafar Panahi or Alice Rohrwacher.
Reviews from the Cannes Film Festival of three world premieres.
A preview of the 2018 Cannes Film Festival.
A preview of the 55th Annual New York Film Festival with commentary on the state of the fest and the Opening Night film by Richard Linklater, "Last Flag Flying."
RogerEbert.com's Godfrey Cheshire is writing a book about Iranian cinema.
On the latest from Lynne Ramsay and Fatih Akin.
Godfrey Cheshire on his encounters with the late Abbas Kiarostami and the director's films.
A tribute to the late, great Abbas Kiarostami.
Three more films from Cannes 2016, including the latest from Park Chan-wook and Andrea Arnold.
A look at the devolving marketplace in America for foreign language films.
A report on "A Very Ordinary Citizen," "Stinking Heaven" and "Looking for Grace" from CIFF.
A report from NYFF on Robert Zemeckis' "The Walk".
A dispatch from the New York Film Festival on Arabian Nights and Les Cowboys.
A recap of the 2015 Toronto International Film Festival by the contributors who were there.
A dispatch on five TIFF 2015 films from all over the world.
Lists from our critics and contributors on the best of 2014.
Michael Haneke's "Amour," which won the Palme d'Or last May at Cannes, was voted Saturday the best film of 2012 by the prestigious National Society of Film Critics. The award, coming on the eve of voting for the 2013 Academy Awards, confirms "Amour" as a Best Foreign Film frontrunner. Other NSFC winners will also draw welcome attention.
Something nice happened to us while we were preparing the schedule for Ebertfest 2012, which plays April 25-29 at the Virginia Theater (above) in Champaign-Urbana, Ill. We'd invited Patton Oswalt to attend with his "Big Fan. He agreed and went one additional step: "I'd like to personally choose a film to show to the students, and discuss it."
In its own way, the success of the Iranian film "A Separation" is as remarkable as the success of "The Artist." Neither one seems made for an American audience. One is silent and black and white. The other is from Iran, a nation not currently in official favor. Both just won Academy Awards nominations, following their victories at the Golden Globes last week. "The Artist" had ten, and "A Separation" was nominated not only for best picture but, in a surprise, for Asghar Farhadi's original screenplay.
This morning, Pedro Almodovar, Spain's biggest big-cheese filmmaker, handed us a limp noodle with "The Skin I Live In," his entry in the Cannes competition. The film stars Antonio Banderas (who began his career in Almodovar's early films) and Elena Anaya, who looks like a cross between Penelope Cruz and Audrey Hepburn. Even a second-best Almodovar film has its delicious moments, but "The Skin I Live In" is flat compared with his best work, including "Broken Embraces," "Volver," and his Oscar winner "All about My Mother."
Typical of Almodovar, the film is a melodramatic farce. Although it's based on the novel "Mygale" ("Tarantula" in English) by Thierry Jonquet, the story is also strongly reminiscent of the 1960 French horror classic "Eyes without a Face" by Georges Franju. In the Franju film, a surgeon kidnaps women in order to graft their faces onto the head of his disfigured daughter. In "The Skin I Live In," a plastic surgeon is engaged in highly experimental work in order to create synthetic skin as a tribute to his dead wife, who was burned to death in a car crash. He subsequently uses the results of his research in service of a unique punishment for his daughter's rapist.
This story has a lot of twists, and the element of surprise is important. I don't want to give away too much, especially since it's due to open in the U.S. in the fall. I haven't read "Mygale," but I understand that the narrative is fragmented into sections that all come together in the end. In this, Almodovar appears to have followed the structure of the book, perhaps too closely. One of the principle weaknesses of "The Skin I Live In" is that the story is scattered in pieces. Characters and subplots are introduced then dropped. They are loosely but not completely tied together in the end.