Blinded by the Light
Blinded by the Light, at its very best, captures the experience of being a fan, the pure exhilaration of it, and the sense of your…
* 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.
On the 50th anniversary of the lunar landing, what better time to think about space, our final frontier!
A preview of the 2019 BAMCinemaFest with four highlights: So Pretty, The World is Full of Secrets, Vision Portraits, and The Mountain.
A look ahead at the 112 films that will play the Sundance Film Festival in January 2019.
The director of "Mandy" talks about making his gorgeous revenge epic and working with Nicolas Cage.
A review of new films by Alfonso Cuaron and Rick Alverson from the start of the Venice Film Festival.
A look back at my Telluride Film Festival Journal from August 28th to September 1st, 2008
A report from the first day of the Television Critics Association press tour, with the latest on "Deadwood," "Sharp Objects," Jennifer Garner's "Camping" and more.
A countdown of our most anticipated films coming this winter.
A report on classic films restored and presented at this year's Venice Film Festival.
The 25 films we're most excited to see during the fall of 2017.
A celebration of the cult classic "The Adventures of Buckaroo Banzai Across the 8th Dimension," in light of the film's release on Shout! Factory Blu-ray.
The latest on Blu-ray and DVD, including "The Invitation," "Sing Street," "Louder Than Bombs," "Keanu" and "Hardcore Henry."
A look at the legacy of "Independence Day," as reflected in films that tried to top it, including its sequel.
A preview of dozens of films coming out this summer.
Lists from our critics and contributors on the best of 2014.
The ten best films of 2014, as chosen by the film critics of RogerEbert.com.
The best new releases on Netflix, Amazon, Hulu, VOD, and Blu-ray/DVD.
On June 21, 2014, “Life Itself” opened the Hamptons Film Festival at Guild Hall in East Hampton, New York. RogerEbert.com publisher Chaz Ebert and editor-in-chief Matt Zoller Seitz were guests at the event and participated in a post-screening Q&A with Alec Baldwin and Hamptons Film Festival artistic director David Nugent afterward.
Recent releases on Blu-ray, including Cat People, Death Wish, Thunderbolt and Lightfoot, and more.
"True Detective" finale; coverage of the True/False film festival; the case against Wes Anderson; a case for Wes Anderson; inside the mind of a psychopath
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.
David Cronenberg's "The Fly" (1986) is among a very few movies that give me a sense of hesitation as soon as the credits appear. I've owned a couple of home video versions since its release twenty some years ago, according to the technology in favor, but I doubt I've played them more than a handful of times (including that for the purpose of this review). For such a well made and entertaining movie this is particularly odd but among the great horror flicks (it certainly fits the bill) this one hits you a little bit below the belt for enjoyment's sake."The Fly" deals with Seth Brundle (Jeff Goldblum), an eccentric inventor who meets reporter Veronica Quaife (Geena Davis) at a science convention and (somewhat unwillingly) spills the beans about his latest creation, one that will "change the world as we know it". The contraption in question is a teleportation system for inanimate objects, which is basically the same concept used for getting characters on and off the Starship Enterprise in "Star Trek". With Veronica alongside him to document his progress Seth is able to take the next step, giving his invention the ability to transport live beings. After a failed attempt (that's putting it mildly!) with a baboon that should have given him some pause, Seth unwisely decides to rush testing the system with himself as passenger, unaware that a seemingly innocent house fly has hitched a ride alongside him (at least they weren't joined by that other baboon!). After the initial apparent success, an oblivious Seth will find himself gaining incredible agility and strength but will progressively become a mean, selfish, stench-filled and tragic individual, illustrating in the process the nature of those insects in much higher detail than we would ever want to learn. By film's end we'll end up seeing these creatures in a very different light and Seth will not be able to regret enough the fact that he did not provide his device with an UNDO command.Much like he previously did in "The Dead Zone" (1983), Cronenberg creates a very convincing couple for the audience to identify with before tragedy strikes. The difference in "The Fly" is that he doesn't show them the slightest bit of mercy (the fates of Christopher Walken and Brooke Adams in "The Dead Zone" amounted to a happy ending in comparison). This doesn't necessarily make one movie better than the other (though "The Dead Zone"'s conclusion is truly sublime). Both entries were treated correctly according to their very different subjects but the ending in "The Fly" is not quite as easy to appreciate. The audience here is even taunted for a while with the possibility that the experiment's results are going to be for the best and that makes the lead's fate all the more painful. What can you say about a movie in which the villain of the piece (Davis' egotistical and sexist boss played by John Getz) suddenly finds himself becoming the hero? Perhaps that Getz' initial evil was no match for the enormity and wrongness of the situations in this movie."The Exorcist" (1973) aside, I can't think of another horror film as
"The Wes Anderson Collection" continues with a video essay on "The Life Aquatic with Steve Zissou," probably Anderson's most widely disliked feature, and MZS's personal favorite.
Sheila writes: Thank you all for taking the time to answer our survey! We will keep you posted on any changes that may come about. So let's get to the newsletter, shall we? Jack Kerouac famously wrote the majority of "On the Road" on one long scroll of paper. Kerouac found that taking the time to remove the finished pages off of the typewriter and replacing them with a fresh sheet interrupted his flow. California artist Paul Rogers, who has done ten book covers for Random House UK of Hemingway classic, has created an online scroll of beautiful illustrations for Kerouac's novel. Evocative and gritty, they make a great companion piece for "On the Road". You can see more of Paul Rogers' cool work at his site.
Is the director's explicit "The Canyons" the nadir of his career—or its climax?