It’s a dancing elephant of a movie. It has a few decent moves, but you’d never call it light on its feet.
* 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 director of "Ant-Man and the Wasp" talks about how "Planet of the Apes," improv comedy and more helped influence his MCU sequel.
A review of the excellent A Very English Scandal, starring Hugh Grant and Ben Whishaw, directed by Stephen Frears.
The winners of the 75th annual Golden Globes.
A look at the entire career of Daniel Day-Lewis and how his work in "Phantom Thread" feels like the perfect finale.
An article about the 2018 nominees of the Golden Globe Awards.
A look at the contenders for Best Actress and Best Supporting Actress this year and how many of them play a historically-beloved role for Oscar, the mother.
A report on some good films coming your way from Telluride and Toronto this year.
The latest from Venice includes Darren Aronofsky, Jim Carrey, and Tony Clifton.
A report on classic films restored and presented at this year's Venice Film Festival.
The 25 films we're most excited to see during the fall of 2017.
The staff pays tribute to Jonathan Demme.
A celebration of the late Jonathan Demme.
A recap of Sundance 2017 that focuses on five films not getting as much buzz as they deserve.
Premieres, Midnights, Special Events and more have been announced for next month's Sundance Film Festival.
An interview with Will Speck and Josh Gordon, co-directors of "Office Christmas Party."
An appreciation of Jonathan Demme's "The Silence of the Lambs" on its 25th anniversary.
Why "The Revenant" was hard for me; Joanna Coates and Daniel Metz on "Amorous"; Scorsese's "The Age of Innocence"; Horror films are scarier than in the past; Teaching VR filmmaking.
An in-depth look at the extraordinary film career of 100-year-old actor Norman Lloyd, currently starring in Judd Apatow's "Trainwreck."
Marie writes: Ever intrepid, club member Sandy Kahn has submitted an intriguing quartet of finds involving a series of Hollywood auctions set to begin at the end of July 2013. Sandy has shared similar things in the past and as before, club members are invited to freely explore the wide variety of collectibles & memorabilia being auctioned LIVE by "Profiles in History". Note: founded in 1985 by Joseph Maddalena, Profiles in History is the nation’s leading dealer in guaranteed-authentic original historical autographs, letters, documents, vintage signed photographs and manuscripts.
Marie writes: Behold a truly rare sight. London in 1924 in color. "The Open Road" was shot by an early British pioneer of film named Claude Friese-Greene and who made a series of travelogues using the colour process his father William (a noted cinematographer) had been experimenting with. The travelogues were taken between 1924 and 1926 on a motor journey between Land's End and John O'Groats. You can find more footage from The Open Road at The British Film Institute's YouTube channel for the film. You can also explore their Archives collection over here.
Marie writes: Recently, a fellow artist and friend sent me the following photos featuring amazing glass mosaics. She didn't know who the artists were however - and which set me off on a journey to find out! I confess, the stairs currently continue to thwart me and thus remain a mystery, but I did uncover who created the "glass bottle doorway" and was surprised to learn both its location and the inspiration behind it. (click image.)
Marie writes: kudos to club member Sandy Kahn for finding this - as I'd never heard of the Bregenz Festival before, despite the spectacular staging of Puccini's opera Tosca and which appeared briefly in the Bond film Quantum of Solace; but then I slept through most of it. I'm not surprised I've no memory of an Opera floating on a lake. Lake Constance to be exact, which borders Germany, Switzerland and Austria near the Alps...
Tosca by Puccini | 2007-2008 - Photograph by BENNO HAGLEITNER(click to enlarge)
Marie writes: I received the following from intrepid club member Sandy Kahn and my eyes widened at the sight of it. It's not every day you discover a treasure trove of lost Hollywood jewelry!
Grace Kelly is wearing "Joseff of Hollywood"chandelier earrings in the film "High Society" (1965)(click image to enlarge.)
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
This is the first of two posts about the movie "Precious Based on the Novel Push by Sapphire." In this one, I talk about the impressions I got from the movie's press coverage, advertising, reviews and word-of-mouth, and why they put me off the film. In the second part I'll write about my response to the movie when I finally, reluctantly, went to see it... (Part II: "Precious Based on the Movie Female Trouble by John Waters")
I put it off as long as I could. For months I tried not to read about it, but I knew it had won a bunch of awards at Sundance back in January, 2009, when it was called "Push." That, in itself, is enough to make me want to avoid it. The Sundance Film Festival is notorious for hailing a certain type of dilettantish formula movie -- the feel-bad/feel-good story of degradation and redemption, set in a colorful, semi-exotic subculture -- and the picture eventually known as "Precious Based on the Novel Push by Sapphire" sure seemed to fit the profile. There's nothing I hate more than a voyeuristic lesson-movie that goes slumming and then presents itself as an inspirational triumph of the spirit. By the time Oprah (Winfrey, that is -- promoter of bogus New Age twaddle like "The Secret") and Tyler Perry (maker of amateurish chitlin' circuit teleplays) signed on, with great fanfare, as "presenters" I was beginning to think (as I used to tell my newspaper editors about movies I was fairly or unfairly predisposed to despise) that nobody had enough money to pay me to see this thing.