Darkest Hour stands apart from more routine historical dramas.
* 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.
As much as Matt can say about "Baby Driver" in 30 minutes at the keyboard.
An interview with critic Ann Hornaday about her book, "Talking Pictures."
Reviews from Sundance of two World Cinema Dramatic titles, "The Nile Hilton Incident" and "Don't Swallow My Heart, Alligator Girl!"
Psychedelia with a smile.
A CIFF 2016 dispatch on Fisher Stevens and Alexis Bloom's "Bright Lights," Julia Ducournau’s "Raw," and Ken Loach's "I, Daniel Blake."
The latest and greatest on Blu-ray and DVD, including The Neon Demon, The Wailing, Central Intelligence, and more.
A report from Venice on the festival's Venice Classics program, including restored films by Robert Bresson, John Ford, Andrei Tarkovsky, George Romero and Woody Allen.
An interview with actress Agyness Deyn about her performance in Terence Davies' "Sunset Song."
An interview with writer/director Nicolas Winding Refn and star Elle Fanning about "The Neon Demon."
A new breed of female lead; A tale of two Fishers; Penn's hate-watch for the ages; "Paterson" is perfection; "The Salesman" marks Iran's post nuclear deal cinematic resurgence.
Reviews from Cannes of Cristian Mungiu's "Graduation" and Nicolas Winding Refn's "The Neon Demon."
Ben Kenigsberg introduces the Cannes Film Festival's sidebars and discusses Pablo Larrain's "Neruda."
A preview of Cannes 2016.
The movie questionnaire and 2015 reviews of RogerEbert.com editor Brian Tallerico.
Sheila writes: Before directing the Oscar-nominated (and Oscar-winning) "Whiplash," writer/director Damien Chazelle made a short film called "Whiplash," an excerpt from the larger story, with J.K. Simmons in the same role that just won him an Oscar. Miles Teller's role is played by Johnny Simmons. You can view the short film on Youtube (clip below). It's 17 minutes long, but it still gives a glimpse of the feature it would eventually become.
Ryan Gosling's feature directorial debut is hardly the "disasterpiece" detractors claim.
How does screen violence make you feel? What kind hurts, and what kind doesn't? What goes through your mind when you see blood on the screen?
An interview with Nicolas Winding Refn, director of "Valhalla Rising," "Drive" and "Only God Forgives," among other films. Simon Abrams talks to the filmmaker about midnight movies, meeting Alejandro Jodorowsky, and the possibility that he might day make a Wonder Woman movie.
Marie writes: Widely regarded as THE quintessential Art House movie, "Last Year at Marienbad" has long since perplexed those who've seen it; resulting in countless Criterion-esque essays speculating as to its meaning whilst knowledge of the film itself, often a measure of one's rank and standing amongst coffee house cinephiles. But the universe has since moved on from artsy farsty French New Wave. It now prefers something braver, bolder, more daring...
"Only God Forgives" commits the unforgivable sin of being boring, "Muhammad Ali's Greatest Fight" is about old white men arguing about race, and "Blue is the Warmest Color" takes its time to follow the transition from uncertain teenager to knowing adult.
Marie writes: Now this is really neat. It made TIME's top 25 best blogs for 2012 and with good reason. Behold artist and photographer Gustaf Mantel's Tumblr blog "If we don't, remember me" - a collection of animated GIFs based on classic films. Only part of the image moves and in a single loop; they're sometimes called cinemagraphs. The results can be surprisingly moving. They also can't be embedded so you have to watch them on his blog. I already picked my favorite. :-)
At Directors' Fortnight, Alejandro Jodorowsky has one new feature and appears as the subject of another.
Ben Kenigsberg looks forward to the parallel programs at this year's Cannes Film Festival.
Barbara Scharres sets the stage the 66th annual Cannes Film Festival.