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.
The RE staff on some of their favorite performances of 2018.
Part 2 of Chaz Ebert's "Best Of" list ranking the best Documentaries of 2017 in alphabetical order
A preview of Chicago's second-annual DOC10 Film Festival, highlighting eight films including "The Cinema Travelers," "Whose Streets?" and "Rat Film."
An article about the second annual DOC10 Film Festival scheduled to run Thursday, March 30th through Sunday, April 2nd in Chicago.
Whenever people ask about what the Black Lives Matter movement is, whether it’s a year or 50 from now, I will tell them to see director Sabaah Folayan’s documentary “Whose Streets?”
The competition titles for Sundance 2017 have been announced.
An article about films that have moved me in 2015, including "Room," "99 Homes" and "He Named Me Malala."
With John Boyega's star on the rise with the release of "The Force Awakens" in five months, we look back at his breakthrough in "Attack the Block" and how it feels more current than ever.
Our racial moment of truth; Legacy of "The Shining"; Hollywood reaches a feminist tipping point; Christopher McQuarrie on "Mission: Impossible 5"; Ezra Miller and Michael Angarano.
A review by a Chicago Urban League student named Veronique Hester of Afraid of Dark.
Jana Monji reports live from the Golden Globes.
A piece on cinema of 2014 that addressed racial issues in the year after such progress with films like "12 Years a Slave."
Much progress has been made in representing African-American life onscreen, but there's a long way to go.
"BET News Special: Justice For Ferguson: The Shooting of Michael Brown" airs at 7pm EST on Friday, August 22nd.
White privilege, lived.
"Let's Be Cops" and Michael Brown; Forgive Damon Lindelof; Stop writing dystopian sci-fi; Reflections on "The Darjeeling Limited"; Temporal anxieties in 2014 films.
An FFC looks at the horrible situation in Ferguson, MO and what it says about where we are and where we're going.
There's nothing selfish about suicide; "Garden State" does not hold up; Looking back at "The Abyss"; America is not for black people; The problem with "Persecuted."
"Walk Away Renee" is available on SundanceNow's new Subscriber Video-on-Demand Program Doc Club from June 27, 2012.
When you were young didn't you think your parents were crazy? Did you swear you wouldn't turn out like them? For filmmaker Jonathan Caouette, those two worries have defined his life because his mother suffers from bipolar personality and schizoaffective disorders, something that he focused on in his award-winning 2003 documentary "Tarnation." In his new film, "Walk Away Renee," Caouette brings us up to 2010 with the focus on Caouette driving his mother, Renee LeBlanc, in a U-Haul from Houston to New York.
For a dysfunctional family, road trips can be filled with emotional landmines. For Caouette, this bonding experience starts out well, but early on, they lose Renee's 30-day supply of lithium. Without her mood stabilizing meds, you know that things can only get worse. For people who have bipolar relatives, this story might seem heartbreakingly familiar.
Caouette's "Tarnation" begins with overexposed grainy images. The highlights are blown out to white; this isn't a technical problem, but an expression of panic. His mother has overdosed and the documentary then shows the events building up to this emergency. Caouette began filming his family in 1984 and in "Tarnation" we see him as a young troubled boy, starved for attention and trying to make sense of his world, his sexual orientation and the mother he loves while being raised by his overwhelmed though well-meaning grandparents, Adolph and Rosemary Davis.
"Hey, Boo: Harper Lee & To Kill a Mockingbird" (82 minutes) premieres on the PBS series "American Masters" on Monday, April 2nd, at 10 p.m. (check local listings). The film is also available on-demand via Netflix and iTunes.
by Jeff Shannon
To Kill a Mockingbird was published on July 11th, 1960, and Harper Lee's first and only novel has been a publishing phenomenon ever since. Although its first printing by the venerable publishing house of J.B. Lippincott was a mere 5,000 copies, it was an immediate bestseller, and has consistently sold a million copies a year for over 50 years. It was a shoo-in for the Pulitzer Prize, and is frequently cited as the second-most beloved book of all time, after the Holy Bible. Some British librarians went a step further: In a 2006 poll, they ranked Mockingbird at the top, above the Bible, in a list of books "every adult should read before they die." Despite some early objections to its use of racial epithets (specifically the "N-word"), the novel has been required, if sometimes controversial, classroom reading for decades.
With its potent themes of racial injustice, inequality, courage, compassion and lost innocence in the noxiously segregated American South, Lee's novel preceded and fueled the civil rights movement that erupted in its wake. I don't think it's an exaggeration to say that To Kill a Mockingbird is the most influential novel of the 20th century, considered by many to be America's national novel. The equally beloved, Oscar-winning 1962 film version -- famously adapted by Horton Foote and directed by Robert Mulligan -- was immediately embraced as an enduring classic worthy of its source material.