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The House That Jack Built

Ultimately, it’s more of an inconsistent cry into the void than the conversation starter it could have been.

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The Mule

The Mule repeatedly spells out and hammers home its message about the importance of family, but it ultimately rings hollow.

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Schindler's List

This was published on June 24th, 2001, and we are republishing it in honor of the film's 25th anniversary rerelease."Schindler's List" is described as a…

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* 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.

Top secret leakage from my 2010 Muriels ballot!

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It's a wrap for the 2010 Muriel Awards, but although the winners have been announced, there's still plenty of great stuff to read about the many winners and runners-up. ('Cause, as we all know, there's so much more to life than "winning.") I was pleased to be asked to write the mini-essay about "The Social Network" because, no, I'm not done with it. (Coming soon: a piece about the Winkelvii at the Henley Gregatta section -- which came in 11th among Muriel voters for the year's Best Cinematic Moment.)

You might recall that last summer I compared the editorial, directorial and storytelling challenges of a modest character-based comedy ("The Kids Are All Right") to a large-scale science-fiction spectacular based on the concept of shifting between various levels of reality/unreality -- whether in actual time and space or in consciousness and imagination. (The latter came in at No. 13 in the Muriels balloting; the former in a tie for No. 22.) My point was that, as far as narrative filmmaking is concerned, there isn't much difference. To illustrate a similar comparison this time, I've used a one-minute segment out of "The Social Network" (Multiple levels of storytelling in The Social Network). You might like one picture better than the other for any number of reasons, but I find their similarities more illuminating than their differences:

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