Buried somewhere in this smart but somewhat disorganized and repetitious movie about The Satanic Temple is a trickier, potentially deeper and more all-encompassing work.
* 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.
Sarah Knight Adamson reports from Santa Monica, CA on the winners and speeches at last weekend's Critics' Choice Awards.
A special edition of Thumbnails celebrating National Disability Employment Awareness Month.
Matt writes: One of our Far Flung Correspondents at RogerEbert.com, Omer Mozaffar, served as a consultant on the widely publicized Amazon Prime series, "Tom Clancy's Jack Ryan," and shared his experiences with us in a must-read essay. Nick Allen penned an enthusiastic review of the show, while Brian Tallerico reported on the 4K Blu-ray releases of past films in the franchise, where the role of Jack Ryan went to Alec Baldwin, Harrison Ford, Ben Affleck and Chris Pine (he's played in the show by John Krasinski).
A review of Amazon's new series Tom Clancy's Jack Ryan, which premieres this Friday on Amazon.
A look back at the five movies featuring Tom Clancy's Jack Ryan, recently released in a 4K Blu-ray box set.
A report from Comic-Con's "Jack Ryan" VR experience and sneak peak at the first episode, in anticipation of the new Amazon series.
A report from Montreal's Fantasia International Film Festival about two opening night films, "Just a Breath Away" and "Nightmare Cinema."
Matt writes: The 20th anniversary of Ebertfest will kick off tomorrow, April 18th, and run through Sunday, April 22nd, at the Virginia Theatre in Champaign, Illinois. Andrew Davis' classic edge-of-your-seat thriller, "The Fugitive," will open the festival, which features other beloved titles including "American Splendor" and "The Big Lebowski," as well as such trailblazing filmmakers as Ava DuVernay, Julie Dash, Amma Asante, Martha Coolidge and many more.
“A Quiet Place” is John Krasinski’s breakthrough as a triple-threat entertainer, but it’s been a long time coming.
Matt writes: In honor of last weekend's crowd-pleasing hit, "Black Panther," the eagerly anticipated Marvel blockbuster helmed by "Creed" director Ryan Coogler, we have gathered three articles about the picture that is sure to delight fans of all ages. First up are Nell Minow's in-depth interviews with Coogler as well as costume designer Ruth Carter. We also have a beautiful four-star review penned by our critic Odie Henderson, who writes, “The numerous battle sequences that are staples of the genre are present, but they float on the surface of a deep ocean of character development and attention to details both grandiose and minute.”
Matt writes: With Thanksgiving in the rearview mirror, this year's awards season is already in full swing, with various titles vying for Oscar consideration. At RogerEbert.com, we recently reported on the nominees for the Film Independent Spirit Awards, which has often proven to be an indicator of Academy favorites. Jordan Peele's "Get Out" emerged as a frontrunner (alongside Luca Guadagnino's "Call Me By Your Name"), and also received numerous nominations from the NAACP Image Awards.
25 films we can't wait to check out during the summer movie season.
An interview with writer/director Kenneth Lonergan about "Manchester By the Sea."
A review of the new Amazon series, "One Mississippi," co-created by and starring Tig Notaro.
An interview with John Krasinski, star and director of "The Hollars."
A look at the latest additions to the now-completed Sundance 2016 lineup.
An FFC comments on the controversy surrounding Cameron Crowe's Aloha.
A preview of dozens of films being released this Summer.
Marie writes: For those unaware, it seems our intrepid leader, the Grand Poobah, has been struck by some dirty rotten luck..."This will be boring. I'll make it short. I have a slight and nearly invisible hairline fracture involving my left femur. I didn't fall. I didn't break it. It just sort of...happened to itself." - Roger
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Marie writes: It's no secret that most Corporations are evil - or at the very least, suck big time. And while I have no actual proof, I'm fairly certain there is a special level of Dante's Hell reserved just for them. (Map of Dante's Hell.)That being the case, when my younger brother Paul wrote me about a cool project sponsored by Volkswagen, I was understandably wary and ready to denounce it sight-unseen as self-serving Corporate shyte. As luck would have it however, I was blessed at birth with curiosity and which got the better of me and why I took a look. For what I found was nothing less than extraordinary....
Marie writes: It's that time of the year again! The Toronto International Film Festival is set to run September 6 - 16, 2012. Tickets selection began August 23rd. Single tickets on sale Sept 2, 2012. For more info visit TIFF's website.
Marie writes: remember "The Heretics Gate" by artist Doug Foster? Well he's been at it again, this time as part of an exhibit held by The Lazarides Gallery - which returned to the subterranean depths of The Old Vic Tunnels beneath Waterloo Station in London, to present a spectacular group show called The Minotaur. It ran October 11th - 25th, 2011 and depending upon your choice (price of admission) dining was included from top Michelin-star chefs.Each artist provided their own interpretation of the classical myth of Theseus and the Minotaur and as with The Heretics Gate before it, Cimera, Doug Foster's new and equally as memorizing piece made it possible to project whatever comes to mind onto it, as images of body forms and beast-like faces take shape and rise from the bowels of earth. (click image to enlarge.) Photo by S.Butterfly.
Marie writes: Summer is now officially over. The berries have been picked, the jam has been made, lawn-chairs put away for another year. In return, nature consoles us with the best show on Earth; the changing of the leaves! I found these at one of my favorites sites and where you can see additional ones and more...
The Australian film director Paul Cox, spoke to a group of students earlier this afternoon. While I 've met Cox a few times before at the annual Ebertfest in Champaign-Urbana, IL, I'd never heard him speak freely to a crowd and was interested in what would be said. Paul enters in casual clothes and walks to the seat in front of the class, unfolds a few pages of yellow papers full of scribbly handwriting and begins speaking in a soft, slow, accented voice.
The title of the speech is "Invent not Imitate," encouraging our generation to break the rules and push the limits. So at first, of course, I'm into it. Slowly, the speech turns from an encouraging nudge towards originality and prioritizing values, to a pretty full blown revolutionary anarchist speech. There is a pessimistic rant about the lack of genuineness and how many artists are "rubbish," specifically at this film festival. Cox rags on any one who even considers the nearby Monaco Grand Prix and car racing relevant or acceptable, and then stomps on organized religion, ex-president Bush, fashion and films like "Pulp Fiction." A student in the crowd asks Paul if there was anything he thought was worth doing, seeing or knowing about and beyond Cox's personal hero, Vincent Van Gogh and some rural Aboriginal tribes with which he'd spent time. It seemed he was not.
View image John Krasinski and George Clooney: Which one's the Ralph Bellamy?
My review of "Leatherheads" is in the Chicago Sun-Times and on RogerEbert.com. (Also: "Shelter.") Here's an excerpt:
The script is less than effervescent, but Clooney and his cast are game. Although "Leatherheads" probably has fewer dull moments than your average NFL contest, sometimes you wonder if the clock is still ticking or if somebody's called a timeout. A scene will end and, just as you're moving on to the next one, you may find yourself wondering: Why was that there?
Yet there's always something interesting to notice: a face, a throwaway visual joke, the way the winter rain on a window contributes to the tone of a scene, or the sight of the muscular 1920s Chicago skyline in the distance behind the ballfield.
Even before the opening credits montage is over, Clooney demonstrates the fleetness of his comedic footwork -- getting a better laugh from a cow and a ball than you'd have any right to hope for. He knows how to compose a shot (the retro short-focus camerawork by Newton Thomas Sigel immediately puts you in a classic Hollywood frame of mind) and how to cut comedy so that it doesn't cramp the actors' style.
Best of all are the picture's abundant grace notes. Clooney's a team player, and his generosity toward his collaborators, as an actor and a director, shines throughout the movie....