The House That Jack Built
Ultimately, it’s more of an inconsistent cry into the void than the conversation starter it could have been.
* 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.
Matt writes: Ebertfest 2018 was a resounding success this year, featuring unforgettable conversations with Ava DuVernay, Julie Dash, Jeff "The Dude" Dowd, Kogonada, Andy Davis, Gregory Nava and many other extraordinary talents. Among the essential films screened this year were "American Splendor," "Rambling Rose," "Belle" and "13th," which earned one of the festival's biggest ovations.
A tribute to the late Oscar-winning filmmaker, Milos Forman.
An eye-opening look at how both the Olympics and cinema would evolve over the course of a century.
The latest from Venice includes Darren Aronofsky, Jim Carrey, and Tony Clifton.
A report on the final day of Ebertfest 2017.
A report on the first day of Ebertfest.
An article about various films set to screen at Ebertfest 2017, including the opening night selection, "Hair."
Members of the RogerEbert.com film community remember the late Haskell Wexler.
A report from the Athena Film Festival 2015.
Catching up with Treat Williams and William Forsythe on the NYFF screening of and Blu-ray release of "Once Upon a Time in America."
Marie writes: Once upon a time, a long time ago and in a childhood far, far away, kids used to be able to buy a special treat called a Frosted Malt. Then, with the arrival of progress and the subsequent destruction of all that is noble and pure, the world found itself reduced to settling for a frosty at Wendy's, at least where I live. Unable to support a "second rate" frosted malt for a second longer, I decided to do something about it!
Marie writes: Intrepid club member Sandy Kahn discovered the following Danish designers "Monstrum" who make extraordinary playgrounds for children. I think they're the stuff of dreams, whatever your age. Indeed; behold the Rahbek kindergarten in Frederiksberg, Denmark, and Monstrum's first playground...
The Rocket and The Princess Tower! "Just like a set design, a playground must have an inspiring front that attracts children, and a functional backside with climbing, sliding and relaxing options. The idea of the playground is to combine a girl's mind with a boy's approach into one big common playground. The princess tower consists of three floors, and the rocket has two floors. From the top floor of the Rocket, you can slide down the 6 m long double slide together with an astronaut friend." (click to enlarge.)
Marie writes: I've always found the ocean more interesting than space and for invariably containing more delights and surprises. Case in point, discovering the existence of an extraordinary underwater museum...
Barbie as Karen in "Superstar."
Maybe there should just be a category in the right column for "Lists." Here's one from the film and music writers of Time Out London (which will always be the only real Time Out) called "50 greatest music films ever except for 'Spinal Tap'." No, I added those last four words, but the editors explain in their intro that "we’re celebrating great films – dramas and documentaries – about real musicians."
As if David St. Hubbins and Nigel Tufnel and Derek Smalls never actually toured in the flesh? As if they aren't at least as "real" as, say, KISS or the Monkees or Hootie and the Blowfish, which contained no one named "Hootie" and nobody named "Blowfish." (BTW, the Ramones weren't really "Ramones"! Those were just stage names!) Oh, and Gus Van Sant's "Last Days" was about a guy named "Blake." Michael Pitt looked like Kurt Cobain, but it was only about Cobain in the sense that "Velvet Goldmine" is about Bowie or Iggy Pop or Lou Reed, or "Grace of My Heart" is about Carole King or Brian Wilson or any of the Brill Building writers (even though a lot of them wrote songs for the movie). Then there's "'Round Midnight" (which is on the list) with Dexter Gordon playing Dale Turner, a fictionalized version of Bud Powell...
View image Downey, CA: "What happened?" Third shot of "Superstar." Compare to second shot of "Zodiac" -- establishing a neighborhood, from a car on the street...
So, OK: No "Spinal Tap." But no "I Am Trying to Break Your Heart: A Film About Wilco"? No "You're Gonna Miss Me: A Film About Roky Erickson"? No "Thelonious Monk: Straight, No Chaser"? No "X: The Unheard Music"? No "The Girl Can't Help It"? No "Wattstax"? No "Woodstock"? No "The Kids are Alright"? No "No Direction Home"? No "The Buddy Holly Story"? No "Theramin: An Electronic Odyssey"? No "Heart of Gold"? No "The Filth and the Fury"? No "We Jam Econo: The Story of the Minutemen"? No "La Bamba"? No "Kurt and Courtney"? See how much fun this is? Really, though, I'd substitute any of these for several of the selections on the list.
But, OK, many of my favorites are included: "24 Hour Party People," "Jazz on a Summer's Day," "Stop Making Sense," "DIG!," "Art Pepper: Notes from a Jazz Survivor" (his autobiography, "Straight Life," is the best account of addiction I've ever read), "The Decline of Western Civilization Parts I and II (The Metal Years)"...
View image No one here gets out alive.
At the toppermost of the poppermost: Todd Haynes' 1987 "Superstar: The Karen Carpenter Story," a 45-minute lo-fi "dramatization" that was never officially released because of music clearance troubles (that is, brother Richard wouldn't let Haynes use any Carpenters tunes). Still, after 20 years as an "underground" item, it's available from Google Video here. It's something you really need to see: a documentary-style biopic of Karen Carpenter performed mostly by Barbie dolls. Yes, its a parody (so are most musical biopics, including others on the list -- see the upcoming Jake Kasdan/Judd Apatow picture, "Walk Hard: The Dewey Cox Story" for more on that score). But it presents straightforward facts about anorexia that could have been excerpted from any PBS or 16mm educational doc of the period. It's also a formula showbiz melodrama. But for all the layers of artifice, like Haynes' Sirk opera "Far from Heaven," it becomes strangely, hypnotically -- and genuinely -- moving. Prepare yourself for Haynes' Dylan fantasia, "I'm Not There," by watching "Superstar" and "Velvet Goldmine."
ASIDE: From an interview with Haynes at The Reeler: I actually think that it's easier for people who know less about Dylan to go with it, if they're up for something different. Clearly, that's the first thing: Whether you know Dylan or not, you have to surrender to the movie to have a good time at all and get anything out of it. If you have a lot of Dylanisms in your head, it's kind of distracting, because you're sitting there with a whole second movie going on. You're annotating it as you go. It's kind of nice to sit back and let it take you. I think people get it: Even if you don't know which are the true facts and which are the fictional things, and when we're playing with fact and fiction, from the tone of it, you know that it's playing around with real life. In a way, that's what biopics always do. They just don't tell you that they're doing it, and they don't make it part of the fun. You have to follow the Johnny Cash story and just sort of think, "This is what really happened." Of course, you know it's being dramatized, but you're not in on the joke. You're not in on the game of that. In this movie, at least, you get tipped off to it.Oh yeah, but about that list. Here it is. Make of it what you will:
1 "Superstar: the Karen Carpenter Story" (Todd Haynes, 1987) 2 "Don't Look Back" (DA Pennebaker, 1967) -- Bob Dylan 3 "Gimme Shelter" (David Maysles/Albert Maysles/Charlotte Zwerin, 1970) --Rolling Stones 4 "24 Hour Party People" (Michael Winterbottom, 2002) -- Manchester scene 5 "Topsy-Turvy" (Mike Leigh, 1999) -- Gilbert and Sullivan 6 "Monterey Pop" (DA Pennebaker, 1968) -- concert 7 "Be Here to Love Me" (Margaret Brown, 2004) -- Townes Van Zandt 8 "Thirty Two Short Films about Glenn Gould" (Francois Girard, 1993) -- Glenn Gould 9 "Cocksucker Blues" (Robert Frank, 1972) -- Rolling Stones 10 "Bird" (Clint Eastwood, 1988) -- Charlie Parker 11 "The Last Waltz" (Martin Scorsese, 1978) -- The Band & Friends farewell concert 12 "Rude Boy" (Jack Hazan, David Mingay, 1980) -- The Clash 13 "Scott Walker: 30 Century Man" (Stephen Kijak, 2006) -- Scott Walker 14 "Bound for Glory" (Hal Ashby, 1976) -- Woody Guthrie 15 "The Decline of Western Civilization Parts I & II" (Penelope Spheeris, 1981, 1988) -- LA punk; '80s metal & hair bands 16 "The Devil and Daniel Johnston" (Jeff Feuerzeig, 2005) -- Daniel Johnston 17 "Sweet Dreams" (Karel Reisz, 1982) -- Patsy Cline 18 "Art Pepper: Notes from a Jazz Survivor" (Don McGlynn, 1982) -- Art Pepper 19 "Elgar" (Ken Russell, 1962) -- Edward Elgar 20 "Rust Never Sleeps" (Neil Young, 1979) -- Neil Young 21 "The Future is Unwritten" (Julien Temple, 2006) -- Joe Strummer 22 "DiG!" (Ondi Timoner, 2004) -- Brian Jonestown Massacre, Dandy Warhols 23 "Some Kind Of Monster" (Joe Berlinger, Bruce Sinofsky, 2004) -- Metallica 24 "A Hard Day's Night" (Richard Lester, 1964) -- The Beatles 25 "Jimi Hendrix" (Joe Boyd, 1973) -- Jimi Hendrix(more)
View image Number 74.
I was not familiar with TotalFilm.com, until I spotted a link over at Movie City News.
Thanks a lot, guys.
The link was to a pair of articles listing Total Film's choices for "The Greatest Directors Ever" Part 1 (100 - 49) and Part 2 (50 - 1).
Will I return to this site? I think probably not. Why am I linking to it now? Because it's my shameless attempt to stimulate discussion, which I hope will be on a more informed level than this list. Or maybe it's just to have a laugh. Or a moment of sadness. What do I think of the list itself? Well, let's see:
Baz Luhrmann is #97.
Tony Scott is #74, just edging out Milos Forman, Kenji Mizoguchi, Satyajit Ray, Carl Theodor Dreyer, and Buster Keaton, who comes in at #88.
Bryan Singer is #65, two slots below Robert Bresson, who immediately follows Sam Raimi.
Rob Reiner is #35.
Michael Mann (#28) is on the list, but Anthony Mann is not.
Bernardo Bertolucci is... not on the list.
Otto Preminger is... not on the list.
Richard Lester is... not on the list.
Rainer Werner Fassbinder is... not on the list.
Max Ophuls is... not on the list.
George Cukor is... not on the list, but George Lucas (#95) is.
Andrei Tarkovsky is... not on the list.
Eric Rohmer is... not on the list.
Claude Chabrol is... not on the list.
Luchino Visconti is... not on the list.
Vittorio De Sica is... not on the list.
Michelangelo Antonioni is... not on the list. Not even the top 100.
What's worse are the little names they have for each director. Sophia Coppola (#99) is "The dreamer" ("Dreamy, brave and cool, this Coppola is doing it for herself"). Singer is "The new Spielberg." Robert Altman (#26) is "The outsider" -- oops, but so is Hal Ashby (#58). Somebody ran out of labels. Well, at least they are not outside all alone; they are outside together. Sam Fuller (#50) is "The hack." Mike Leigh (#49) is "The grouch." Quentin Tarantino (#12) is "The motormouth."
OK, that's enough. Have at it if you feel like it. If you don't feel like it, you'll probably live.
ADDENDUM: A reader, spleendonkey, describes TotalFilm as a British magazine aimed at teens and pre-teens, designed to broaden their film horizons. For the record, here's the mag's description of itself on its subscription page:In 2007, Total Film celebrates its tenth year of being the only film magazine that nails a monthly widescreen shot of the whole movie landscape. It’s the essential guide for anyone who’s passionate about movies - whether they’re into Cruise or Cusack, Hollywood or Bollywood, multiplex or arthouse, popcorn or - er - sweetcorn. Each issue is pumped full of reviews, news, features and celebrity interviews on all the latest cinema releases. The all-new home entertainment section, Lounge, is the ultimate one-stop-shop for everything you should care about in the churning world of DVDs, books, videogames and, occasionally, film-related novelty furniture. The mag regularly features highly desirable, Ebay-friendly FREE stuff - exclusive film cells, posters, postcards, DVDs… We’re currently in discussions with Health & Safety operatives about sticking a magical compass to the cover when "His Dark Materials" comes out. Subscribe to Total Film now, or forever be belittled by precocious children in discussions about what’s best and worst in movieland.Doesn't sound all that different from Entertainment Weekly to me, but there you go...
The Sunday New York Times Magazine devoted itself to comedy this weekend -- and you know how funny the New York Times Magazine can be. Actually, there's a very good article by A.O. Scott on the art of the pratfall in which he explains why some of the greatest modern comedy (from "Little Miss Sunshine" to "Borat") is of the well-executed physical variety. (Not to be confused with what Chris Farley used to call, with an undertone of dismay, "Fat Guy Falls Down" -- a desperate stunt that may elicit knee-jerk laughs, even if it's not inherently funny.)
As part of its comedic survey, the Times Mag asked some 22 comedians, well-known and not-, to name five of their favorite "Desert Island Comedies" on DVD. I don't like any of the lists much (while agreeing wholeheartedly with a few individual choices) -- but I salute David Cross (somebody I've long thought is really funny) for the humor inherent in choosing "Homer and Eddie" and "Rent."
To paraphrase an old David Steinberg routine: There are those who say... (that's the end of my paraphrase) that to analyze comedy is anti-comedic. I could not disagree more strongly. I say if you don't understand why you're laughing, when you're laughing, then you don't appreciate the comedy and you may as well not be laughing at all, since any old reaction is probably comparably appropriate for you. You could be crying or sneezing and it's probably the same thing. But let's put that aside for the moment and concentrate on some lists of very personal, very funny movies.
I suppose I could choose the great movies that have made me laugh the most -- the first that come to mind, such as: a Keaton ("Sherlock, Jr." or "Steamboat Bill, Jr."), a Fields ("It's A Gift" or "The Bank Dick"), a Marx Bros. ("Animal Crackers" or "Duck Soup"), a Sturges ("The Lady Eve" or "Miracle of Morgan's Creek"), and, let's say, a classic comedy (preferably starring Cary Grant or Barbara Stanwyck or Jean Arthur, and written and/or directed by Ernst Lubitsch or Howard Hawks or Billy Wilder or Mitchell Leisen, like "Trouble in Paradise" or "Heaven Can Wait" (1943) or "Bringing Up Baby" or "His Girl Friday" or "The Major and the Minor" or "Some Like It Hot" or "Easy Living" or "Ball of Fire"...). But those are all 50-75 years old, and I haven't even mentioned my modern-era favorites, like Luis Bunuel ("The Exterrminating Angel," "Simon of the Desert," "The Discreet Charm of the Bourgeoisie," "The Phantom of Liberty"), Monty Python ("Life of Brian" -- greatest comedy of the last half-century), Christopher Guest & ensemble ("Spinal Tap," "Waiting for Guffman," "Best in Show") or the Coen Bros. ("Barton Fink," "The Big Lebowski"). So, I thought I'd just offer up a few relatively obscure, underappreciated or, at least, off-the-beaten-path comedies that I think are hysterically funny and invite you contribute some of your own:
"I Was Born, But..." (Yasujiro Ozu, 1932) I know it's an acknowledged masterpiece by one of the greatest directors in movie history, but how many of you have actually seen it? Two boys, big belly laughs. Some of this material was re-worked in "Ohayo" ("Good Morning") in 1959.
"The President's Analyst" (Theodore J. Flicker, 1967) I love this movie -- the perfect paranoid Cold War 1960s espionage satire companion to "Dr. Strangelove" and James Bond, with James Coburn in the title role. Who is writer/directorTheodore J. Ficker, anyway? Well, according to IMDb, he directed episodes of "The Dick Van Dyke Show," "The Man From U.N.C.L.E., "The Andy Griffith Show," "I Dream of Jeannie," "Night Gallery" and "Barney Miller."
"Taking Off" (Milos Forman, 1971) You couldn't find a better time capsule for 1971 -- which Forman has captured with his characteristically uncanny ease and naturalness. Buck Henry "stars" as a father whose daughter has run away to some sort of "hippie" musical audition -- probably in the Village. The whole thing feels spontaneous and improvised -- but it was written by Forman, Jean-Claude Carrierer ("The Discreet Charm of the Bourgeoisie," "The Phantom of Liberty," "Birth"), John Guare ("Atlantic City," "Six Degrees of Separation") and Jon Klein. One of the late, great Vincent Schiavelli's finest moments: teaching a group of uptight, wealthy parents with missing kids how to smoke pot. Early cameos by Kathy Bates, Carly Simon and Jessica Harper, among others. (Long unavailable, this recently showed up on the Sundance Channel, which I hope means it will soon be released on DVD.)
"How to Get Ahead in Advertising"(Bruce Robinson, 1989) Robinson's equally brilliant and demented "Withnail & I" is the official masterpiece (and object of obsessive cult veneration in the UK), but this is Richard E. Grant's finest hour. He's a London advertising executive so sick with self-loathing that he grows a foul-mouthed boil on his neck. How's that for a premise?
Coldblooded" (Wallace Wolodarsky, 1995) In some ways, this is a precursor to "Dexter." Jason Priestly is magnificently deadpan as an empty young man who is recruited to become a hit man -- and turns out to be mighty good at it. Co-starring Peter Riegert, Robert Loggia (getting ready for "Lost Highway"), and Jay Kogen -- who, along with writer/director Wolodarsky, wrote some of the classic early episodes of "The Simpsons."
"Kids in the Hall: Brain Candy" (Kelly Makin, 1996) Critics were mostly bewildered or repulsed, but this movie gets funnier every time I see it (and I've seen it at least a dozen times). It plays GREAT on the video screen -- better, I think, than any of the TV shows. A drug company speeds a new anti-depressant to the market, only to find that the insanely popular Gleemonex has a troublesome side effect: It puts people into comas of happiness. Each of the "Kids" has at least a handful of indescribably (but not inexplicably) funny moments. Including: "Cat on my head! Cat on my head!"; "I'm an elephant rider!"; "Tasty"; "How pleasing!"; and "Just... a guy." Should be seen alongside the great documentary, "The Corporation."
I cheated. That's six. But, OK, I've left out hundreds of great titles. Your turn. And the more obscure/underappreciated the better, please.
P.S. Anybody else remember the rest of the sentence from that David Steinberg bit?
TELLURIDE, Colo.--Some sort of symbolic divide was crossed here Friday, on the opening night of the 28th Telluride Film Festival, when the Telluride Medal was presented to Colin Collender, head of HBO Films.
Q. As you've probably heard, Spike Lee has attacked Quentin Tarantino and his latest film "Jackie Brown" for using the word "nigger" a reported 38 times, Lee claiming it was gratuitous in almost each use. He also said if he used a word like "kike" 38 times in one of his films, his Hollywood career would be over. My feelings: QT has a right to do whatever he wants in films, as does Lee. Your thoughts? (William Batts, New York City)
The Festival International du Film, held annually in Cannes, France, has become the world's most prestigious film festival—the spot on the beach where the newest films from the world's top directors compete for both publicity and awards.
CANNES, FRANCE -- The great galleon Neptune rides high in the old yacht harbor, attracting thousands of gawkers who admire its weathered timbers, its 18th century riggings and its bizarre 20-foot figurehead. But Roman Polanski's "Pirates," the movie that used this ship as a prop and location, sank on launching at this year's Cannes Film Festival.
In this racket, you see maybe 250 movies a year. When I first got into it, the pace seemed incredible, and I didn't see how anyone could possibly last five years as a movie critic. I used to tell people, in fact, that five years of this ought to be enough for anybody. There were times, in fact, when five minutes of it seemed enough for anybody. The first five minutes of "Vengeance of She" were five of those
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