Mamma Mia! Here We Go Again
For all its frantic energy, it manages to go absolutely nowhere.
* 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: In her latest edition of Thumbnails, Chaz Ebert has chosen to place a spotlight on in-depth conversations with various critics including Matt Zoller Seitz, Claudia Puig, A.O. Scott, Susan Wloszczyna, Dan Callahan and more. In addition to reading the full slate of articles, make sure to watch the video embedded below of the epic critics panel from this year's Ebertfest, featuring such esteemed writers as Leonard Maltin, Michael Phillips and Richard Roeper.
Writer/director Amy Heckerling takes a look back at her career.
Claire Denis's "Bright Sunshine In" opened Directors' Fortnight, a parallel festival, which also presented Werner Herzog with an honorary award.
Molly Haskell speaks with Matt Zoller Seitz about "From Reverence to Rape," "Love and Other Infectious Diseases," "Steven Spielberg: A Life in Films" and more.
An interview with actress Emilia Clarke and author/screenwriter Jojo Moyes about "Me Before You."
A preview of dozens of films coming out this summer.
A reposting of Tina Hassannia's article from Movie Mezzanine, and the response it received from Peter Becker, president of the Criterion Collection.
An updated look at the history of women in film from Carrie Rickey.
An introduction by Publisher Chaz Ebert to our week of content by women writers.
An appreciation of the late novelist and filmmaker Nora Ephron.
An interview with Jacob Bernstein about his mother Nora Ephron, the subject of his HBO doc "Everything is Copy."
A look at some of the narrative, documentary, and midnight titles set to premiere at Sundance 2016.
First impressions of the new Amazon pilots, including "One Mississippi" and "Good Girls Revolt."
A NYFF report on three films: "The Witness," "Don't Blink" and "Maggie's Plan".
On how Clint Eastwood's "American Sniper" examines evil.
An interview with Alfonso Gomez-Rejon, director of the Grand Jury Prize-winning "Me and Earl and the Dying Girl."
An excerpt from the book "Eat, Drink & Remarry" by Margo Howard.
The class gap caused by lack of Internet access; Andy Kaufman may be alive; Weinstein Co. wins MPAA appeal; "Carlito's Way" appreciation; Dunham and Kaling's brass tacks.
Critic Carrie Rickey traces the evolution of women on film and behind the camera over the course of her career writing about film.
"American Masters: Inventing David Geffen" premieres Tuesday, Nov. 20th at 8:00pm on PBS. (Check local listings.) It can also be viewed, where available, via PBS On Demand.
by Jeff Shannon
It was my good fortune to be working at Microsoft when the big announcement was made in March of 1995: Microsoft was entering into a joint venture with DreamWorks SKG, the new film studio and entertainment company founded the previous year by mega-moguls Steven Spielberg, Jeffrey Katzenberg and David Geffen (the "SKG" in the company's original moniker). At the time, Microsoft dominated the booming business of multimedia publishing, and the group I was working in, nicknamed "MMPUB," was producing a dazzling variety of CD-ROM games and reference guides. As an independent contractor I was the assistant editor of Cinemania, a content-rich, interactive movie encyclopedia (later enhanced with a website presence) that was an elegant and in some ways superior precursor to the Internet Movie Database.
Lesson for the day: How to have fun while wasting time... Marie writes: welcome to DRAW A STICK MAN, a delightful Flash-based site prompting viewers to draw a simple stick figure which then comes to life! Ie: the program animates it. You're given instructions about what to draw and when, which your dude uses to interact with objects onscreen. Thanks go to club member Sandy Kahn who heard about it from her pal Lauren, in Portland Oregon.Note: here's a screen-cap of what I drew; I've named him Pumpkin Head.
Ah, this is so refreshing. New York Times critic Manohla Dargis -- one of my favorites, as you know -- talks to Jezebel.com about women in Hollywood -- and doesn't hold back. (Compare and contrast with the arguments over Publishers Weekly's Top 10 books.) Just a few highlights:
>>"I am an equal opportunity critic. I will pan women as hard as men. I've had testy people imply that I should go easier on women's movies. I find that incredibly insulting. Are you kidding me? I don't want to be graded on a curve. None of us want to be a 'good woman writer.'
"I don't want to be the woman critic. I don't want to be the feminist critic. I don't want to be the shrew. What I want to do is talk about the art that I love and point out, every so often, inequities....It's a weird balancing act and I'm not saying there aren't contradictions."
>>"The only thing Hollywood is interested in money, and after that prestige. That's why they'll be interested in something like 'The Hurt Locker.' [Kathryn Bigelow's] done so well critically that she can't be ignored.
"Let's acknowledge that the Oscars are bullshit and we hate them. But they are important commercially... I've learned to never underestimate the academy's bad taste. 'Crash' as best picture? What the fuck."
>> "This business is really about clubby relationships. If you buy Variety or go online and look at the deals, you see one guy after another smiling in a baseball cap. It's all guys making deals with other guys. I had a female studio chief a couple of years ago tell me point blank that she wasn't hiring a woman to do an action movie because women are good at certain things and not others. If you have women buying that bullshit how can we expect men to be better?"
>> "I personally don't think either of them [Nancy Meyers or Nora Ephron] is a good filmmaker -- they make movies for me that are more emotionally satisfying but with barely any aesthetic value at all. I really like "Something's Gotta Give," but I don't think it's a good movie.... I'm of two minds. Sometimes I think that women should do what various black and gay audiences have done, which is support women making movies for women. So does that mean I have to go support Nora Ephron? Fuck no. That's just like, blech."
Q. I walked out of "Dancer In The Dark" last night, not because it was awful (I found it compelling and difficult) but because my wife had fled the theater ten minutes before (during the scene in which Selma and Bill struggle over her money), unable to bear the suffering any more. My initial response was to stay and watch this troubling, fascinating film to the end, but I realized that I was more worried about my wife than I was about the characters. So I left, silently apologizing to Bjork and Lars Von Trier. 1. Did I do the right thing? 2. Does this mean she gets to pick the next movie, even if it's directed by Nora Ephron and features a talking cat? (Colin Meeder, Frankfurt, Germany)