An essay about Wes Anderson's The French Dispatch, as excerpted from the latest issue of Bright Wall/Dark Room.
Ben Kenigsberg reviews the festival's final competition titles, from Joachim Lafosse, Justin Kurzel, Nabil Ayouch, and Bruno Dumont.
A piece on Robert De Niro, Harvey Keitel, and Joe Pesci, and what they've meant to the career of Martin Scorsese.
A feature on the career of Leonardo DiCaprio through five performances: Titanic, Catch Me If You Can, The Aviator, Shutter Island, and The Wolf of Wall Street.
An essay about the five screen versions of "A Star Is Born," and why George Cukor's 1954 masterpiece still reigns supreme.
An interview with John C. Reilly about his performance as Oliver Hardy in the Laurel and Hardy film, Stan & Ollie.
Matt writes: This month has marked the fiftieth anniversary of Arthur Penn's 1967 masterpiece, "Bonnie and Clyde." While many critics at the time were baffled and offended by the picture, Roger Ebert awarded it four stars, writing, "This is pretty clearly the best American film of the year. It is also a landmark. Years from now it is quite possible that 'Bonnie and Clyde' will be seen as the definitive film of the 1960s, showing with sadness, humor and unforgiving detail what one society had come to. The fact that the story is set 35 years ago doesn't mean a thing. It had to be set sometime. But it was made now and it's about us." Later that year, he wrote a piece taking on the film's naysayers, and in 1998, Ebert inducted "Bonnie and Clyde" into his Great Movies series. To commemorate the film's anniversary, writers at RogerEbert.com offered their reflections on the film's legacy.
Sheila writes: In Roger Ebert's Great Movies review of Martin Scorsese's "Taxi Driver," he writes: "The technique of slow motion is familiar to audiences, who usually see it in romantic scenes, or scenes in which regret and melancholy are expressed--or sometimes in scenes where a catastrophe looms, and cannot be avoided. But Scorsese was finding a personal use for it, a way to suggest a subjective state in a POV shotPOV shot...one of Scorsese's greatest achievements in 'Taxi Driver' is to take us inside Travis Bickle's point of view." I came across a wonderful video that shows Scorsese's storyboards for "Taxi Driver" alongside the actual filmed scenes.
Sheila writes: An exciting bit of news from last week: Paramount has launched its own Youtube channel called The Paramount Vault, with hundreds of movies from their archives. streaming for free. So far, not too many classic films, but other than that, it's a goldmine. Check out The Paramount Vault Youtube channel. Here's the channel's fun sizzle reel.
An assembly of coverage on RogerEbert.com regarding Bennett Miller's "Foxcatcher."