Wild Rose may sound like a familiar tune, but you’ve never heard it performed quite like this.
* 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.
A review of the new Amazon series, Good Omens.
An interview with writer/director Gareth Evans about his gory pagan horror film, Apostle.
A preview of this year's Miami Film Festival.
An excerpt from the February 2017 issue of online magazine Bright Wall/Dark Room about "Frost/Nixon."
The first films announced for the 2016 Toronto International Film Festival.
A preview of dozens of films coming out this summer.
An interview with actress Imogen Poots about her performance in the new Terrence Malick movie Knight of Cups.
Highlights of the live-action portion of 2015's D23, featuring "Star Wars: The Force Awakens," "Captain America: Civil War," and more!
The latest and greatest on Netflix, On Demand and Blu-ray/DVD, including "Insurgent," "The Water Diviner," "The People Under the Stairs" and "Night and the City".
A TV review of IFC's "The Spoils Before Dying" and HBO's "7 Days in Hell."
Picks for the best of the 2013-14 television season, in the form of a Dream Emmy ballot.
Actors with "A-list" name recognition continue to migrate to television. "True Detective" uses Matthew McConaughey and Woody Harrelson to make great television.
An exhaustive list of Top 10s by RogerEbert.com contributors.
With incredibly strong central performances and thematically dense subject matter, "Masters of Sex," a drama about sex researchers Masters and Johnson, serves as a nice partner to Showtime's returning "Homeland."
Marie writes: When I first learned of "Royal de Luxe" I let out a squeal of pure delight and immediately began building giant puppets inside my head, trying to imagine how it would look to see a whale or dragon moving down the street..."Based in Nantes, France, the street theatre company Royal de Luxe performs around the world, primarily using gigantic, elaborate marionettes to tell stories that take place over several days and wind through entire cities. Puppeteers maneuver the huge marionettes - some as tall as 12 meters (40 ft) - through streets, parks, and waterways, performing their story along the way." - the Atlantic
(Click images to enlarge.)
Marie writes: I recently heard from an ex-coworker named Athena aka the production manager on an animated series I'd painted digital backgrounds for. She sent me some great photos she'd found on various sites. More than few made me smile and thus inspired, I thought I'd share them with club members. I've added captions for fun but if you can come up with something better, feel free to submit your wit by way of posted comment. Note: I don't know who the photographers are; doesn't say. (Click pics to enlarge.)
"I want a peanut for every photo you took of me..."
Marie writes: I love photography, especially B/W and for often finding color a distraction. Take away the color and suddenly, there's so much more to see; the subtext able to rise now and sit closer to the surface - or so it seems to me. The following photograph is included in a gallery of nine images (color and B/W) under Photography: Celebrity Portraits at the Guardian."This is one of the last photographs of Orson before he died. He loved my camera - a gigantic Deardorff - and decided he had to direct me and tell me where to put the light. So even in his last days, he was performing his directorial role perfectly, and bossing me around. Which was precious." - Michael O'Neill
Orson Welles, by Michael O'Neill, 1985
Marie writes: There's a glorified duck pond at the center of the complex where I live. And since moving in, my apartment has been an object of enduring fascination for Canadian geese - who arrive each Spring like a squadron of jet fighters returning from a mission in France, to run a sweeping aerial recon my little garden aka: playhouse for birds... (click to enlarge)
For tax day, the editors at MSN Movies came up with an idea for contributors to write short essays about the most, ahem, "taxing" people in modern movies. Each of us picked a person whose presence, behind or in front of the camera, we find wearisome and debilitating -- as in the Merriam-Webster Dictionary definition of taxing: "onerous, wearing."
You've probably already guessed my choice. I've written quite a bit about why I find Christopher Nolan's post-"Memento" work lackluster, but this exercise gave me an opportunity to condense my reservations about his writing and directing into one relatively concise piece:
Let me say up front that I don't think Nolan is a bad or thoroughly incompetent director, just a successfully pedestrian one. His Comic-Con fan base makes extravagant claims for each new film -- particularly since Nolan began producing his graphic-novel blockbusters with "Batman Begins" in 2005 -- but the movies are hobbled by thesis-statement screenplays that strain for significance and an ungainly directing style that seems incapable of, and uninterested in, illustrating more than one thing at a time: "Look at this. Now look at this. Now look at this. Now here's some dialogue to explain the movie's fictional rules. Now a character will tell you what he represents and what his goals are." And so on ... You won't experience the thrill of discovery while looking around in a Nolan frame. You'll see the one thing he wants you to see, but everything around it is dead space. [...]
Marie writes: ever stumble upon a photo taken from a movie you've never seen? Maybe it's an official production still; part of the Studio's publicity for it at the time. Or maybe it's a recent screen capture, one countless fan-made images to be found online. Either way, I collect them like pennies in jar. I've got a folder stuffed with images, all reflecting a deep love of Cinematography and I thought I'd share some - as you never know; sometimes, the road to discovering a cinematic treasure starts with a single intriguing shot....
A Streetcar Named Desire (1951) Cinematography: Harry Stradling(click images to enlarge)
I think, at a child's birth, if a mother could ask a fairy godmother to endowit with the most useful gift, that gift would be curiosity. - Eleanor Roosevelt John Singer Sargent: 'Carnation Lily, Lily Rose' (1885-86) Tate Gallery, London
"The King's Speech," a story of Britain's King George VI, won the coveted Cadillac People's Choice Audience Award Sunday at the Toronto International Film Festival -- and an audience member won a new Cadillac. The film -- which stars Colin Firth as the King and Helena Bonham-Carter as Elizabeth, his wife and mother of Elizabeth II -- is considered a sure thing for Academy nominations.
Michael Sheen and Frank Langella are swell as David Frost and Richard Nixon in the adapted-from-the-stage-adaptation movie, but I feel -- and I believe the above clips demonstrate -- that these five minutes provide more compelling drama and suspense (and adrenaline) than the entire feature film. Frost presents himself as a much stronger, more flamboyant "prosecutor" than he is in the movie. And watch the incredible range and focus of Nixon's performance: the deliberate rhetorical emphases and repetitions; the flashes of steely anger and startling shifts into unctuousness/condescension when he seems like he could burst into inappropriate laugher or tears or flames; the (strategic?) digressions and circumlocutions; the hand-gestures, head-shakes, eye-blinks; the splintered syntax and mispronunciations-under-pressure when he gets flustered... At least you can tell (unlike certain modern politicians one could name) that he's actually thinking as he talks, sifting through evidence and debate tactics and talking points in his head, not just going blank and letting his lips flap. THIS is an endlessly fascinating character in peak performance mode...
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"Frost/Nixon" and "Milk" are glossy products of the Hollywood awards season, prestige pictures in the grand red-carpet tradition of fashioning uplifting, larger-than-life entertainments out of semi-fictionalized semi-recent historical events. The thing is, both have been treated far more thrillingly on documentaries that are available on DVD. Think "Frost/Nioxon" provided compelling drama, suspense and astoundingly rich performances? It can't approach the actual interviews , which have just been released as "Frost/Nixon: The Original Watergate Interviews." Think "Milk" was a moving look at a charismatic public figure and a key period in American civil rights? You have not begun to be moved until you see Rob Epstein's Oscar-winning "The Times of Harvey Milk" (clips after the jump), which is also a more complex, less hagiographic portrait of the man and his heady times.
Roger Ebert's best movie lists from 1967-present
View image John Candy as Steve Roman as Juan Cortez -- now that spells good acting.
Ever since December, when Kristin Thompson posted this ("Good Actors Spell Good Acting") on the blog she shares with her husband and co-author David Bordwell, I've been meaning to link to it. This is my favorite kind of article, leading you fluidly from one intriguing idea to another -- and you never quite know where it's going to take you. Not only does it begin with an account of how bits of movie dialogue (from "Rio Bravo," "His Girl Friday") have entered her life, and the lives of her friends and colleagues, but it then segues into a great quotation from Steve Roman on SCTV (playing Juan Cortez, the first Puerto Rican Chief Justice of the US Supreme Court in the dramatic television series, "There's Justice for Everybody") : “It’s got good actors, and that spells good acting.” And, from there, to this: Almost invariably we use this line when we come across one of those films that receive highly positive reviews largely because of one great performance. You know the kind: Charlize Theron in "Monster," Halle Berry in "Monster’s Ball," Hillary Swank in "Boys Don’t Cry," and more recently Forest Whitaker in "The Last King of Scotland" and Helen Mirren in "The Queen."
Usually I avoid such films, because the reviews tend to plant the idea that they are primarily actors’ vehicles. I enjoy good acting as much as the next person, but I want the rest of the film to be interesting as well.
Are there any film classics that are truly great solely for the acting? It’s hard to think of any. Maybe "The Gold Rush," which is stylistically fairly pedestrian but which is redeemed by Chaplin’s inspired performance. Maybe "Duck Soup," also quite undistinguished for much of anything other than the Marx Brothers cutting loose without being saddled with the sort of plots involving young, singing lovers that MGM would soon foist upon them. Maybe a few others. Usually, though, we tend not to think of a performance, however dazzling, as adding up to a great film. That's a good point to keep in mind during Oscar season, when "best acting" is often confused with "most acting." The performances that win awards tend to have as much to do with the roles as they do the actors. Sure, the player has to deliver, but give a decent actor a juicy character (and a sympathetic director) and you're talking Oscar bait. If just about anyone had played Jennifer Hudson's mistreated chunky diva in "Dreamgirls," an emotive-showpiece part if there ever was one, and had not gotten an Oscar nomination, that alone would have made the film a miserable failure. Fortunately for the investors, Hudson was able to do what she was hired to do. (Twenty years ago on Broadway, it was another Jennifer H. -- Holliday -- who became a star playing the same role and singing the same showstopper song.) Robert Altman liked to say that casting was the most important part of making a movie, but nobody would say that his movies are interesting just for the performances. It's how he captures and presents them that matters just as much.