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 tribute to Doris Day.
Writers at RogerEbert.com offers their recommendations for Christmas movies.
An AFI FEST review of Mary Queen of Scots, starring Saoirse Ronan and Margot Robbie.
An interview with critic Leonard Maltin about his new book, Hooked on Hollywood.
The latest on Blu-ray and DVD includes "Atomic Blonde," "Wind River," "Your Name," and more.
Our writers share their memories of the late, great Jerry Lewis.
An appreciation of the late novelist and filmmaker Nora Ephron.
An in-depth preview of the upcoming 70mm film festival occurring at Chicago's Music Box Theatre from February 19 to March 10.
An essay on "Rear Window" from the July 2015 edition of Bright Wall/Dark Room.
A review of "In the Company of Legends" by Joan Kramer and David Heeley.
A recap of the 2015 TCM Film Festival.
An excerpt from Adrian's Martin's Mise en scène and Film Style: From Classical Hollywood to New Media Art.
Joe Swanberg on "Sex Tape"; The problem with "Star Wars"; Advice for writers of color; The necessary evil of Twitter; Jonah Ray hates Sublime's "What I Got."
Nell Minow responds to our Movie Love Questionnaire.
The Music Box Theatre in Chicago Announces "Son of 70MM Film Festival."
May 2014 Blu-rays of note.
Ali Arikan has figured out how AMC's "Mad Men" will end.
Kim Novak and aging; Michelangelo Antoniono's Blow-Up; A comical story about Church organists; In defense of jaywalking; An argument to bury the 'In Memoriam' segment.
Marie writes: Much beloved and a never ending source of amusement, Simon's Cat is a popular animated cartoon series by the British animator Simon Tofield featuring a hungry house cat who uses increasingly heavy-handed tactics to get its owner to feed it. Hand-drawn using an A4-size Wacom Intuos 3 pen and tablet, Simon has revealed that his four cats - called Teddy, Hugh, Jess and Maisie - provide inspiration for the series, with Hugh being the primary inspiration. And there's now a new short titled "Suitcase". To view the complete collection to date, visit Simon's Cat at YouTube.
Marie writes: The West Coast is currently experiencing a heat wave and I have no air conditioning. That said, and despite it currently being 80F inside my apartment, at least the humidity is low. Although not so low, that I don't have a fan on my desk and big glass of ice tea at the ready. My apartment thankfully faces East and thus enjoys the shade after the sun has crossed the mid-point overhead. And albeit perverse in its irony, it's because it has been so hot lately that I've been in the mood to watch the following film again and which I highly recommend to anyone with taste and a discerning eye.
My mom, the criminal; two new books that want to be the next Lolita; heart disease cut in half, but we're not cheering; how to take care of your smartphone battery; remembering the actress Elizabeth Hartman; R. Crumb's rejected gay marriage New Yorker cover; the most popular movies outside the United States
You emailed me the questions to this interview on March 15, 2013. In your March 16th reply to my email, you said: The piece will go out to all my print syndication customers. (“Print!” How times change.)
Ramin Bahrani, the best new American director of recent years, has until now focused on outsiders in this country: A pushcart operator from Pakistan, a Hispanic street orphan in New York, a cab driver from Senegal working in Winston-Salem. NC. His much-awaited new film, "At Any Price," is set in the Iowa heartland and is about two American icons: A family farmer and a race car driver. It plays Sunday and Monday in the Toronto Film Festival.
This appreciation is a slightly revised-for-2012 version of an article originally published online at Microsoft Cinemania in 1996. It was just one of several pieces in a package celebrating the 70mm restoration release of "Vertigo" that year.
Alfred Hitchcock's "Vertigo" is one of the most ravishing Technicolor films ever made -- all the more so in its VistaVision-to-70mm restored version. And color plays a key part in the mystery, emotion and psychology, of the film. Colors evoke feelings, and while Hitchcock liked to say that "Psycho" (made two years later) was "pure cinema" in black-and-white, "Vertigo" is a symphony of color, its multi-hued themes and motifs as vividly orchestrated as Bernard Herrmann's famous score.
I first saw "Vertigo" on network television in the late 1960s or early 70s, shortly before it was withdrawn from release. I think I was somewhere between 12 and 14 years old -- I know I saw it by myself on my parents' new 19-inch color TV one night when mom and dad went to some neighborhood grown-up party -- and I'm sure I didn't understand the half of it. But it stayed with me -- haunted me, you might say -- between that fateful evening and its re-release in the mid-80s. By then, "Vertigo" had become, if not quite the Holy Grail of the American Cinema (after all, "Rear Window" and "The Manchurian Candidate" had been unavailable for years, too -- and a great deal of "The Magnificent Ambersons" is still at the bottom of the ocean), then at least one of its most coveted (and fetishized) treasures.