The Dead Don't Die
A leisurely film about the end of the world, with flesh-eating and lots of jokes and a few moments of eerie beauty.
* 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 latest on Blu-ray and DVD, including Solo, Leave No Trace, and Three Identical Strangers.
A look at one of the most important and valuable Blu-ray releases of the year, which brings to light important aspects of black and cinema history that must not be forgotten.
A tribute to the greatest of all time.
This is an excerpt from the August 2014 issue of "Bright Wall/Dark Room" on "Joe vs. the Volcano."
How would I feel if I were a brown student at Miller Valley Elementary School in Prescott, Arizona? A mural was created to depict some of the actual students in the school.
Let's say I was one of the lucky ones. The mural took shape, and as my face became recognizable, I took some kidding from my classmates and a smile from a pretty girl I liked.
My parents even came over one day to have a look and take some photos to e-mail to the family. The mural was shown on TV, and everybody could see that it was me.
From its incendiary opening to its somber but exultant conclusion, Spike Lee's grand and important film "Malcolm X" captures the life of a complex, charismatic and gravely misunderstood man who fought for human rights and justice for Africans and African-Americans. The film, based on The Autobiography of Malcolm X as told to Alex Haley, is arguably Mr. Lee's best and most universal film, and one of the great American film biographies.
For context, "Malcolm X" had extraordinary publicity leading up to its 1991 production. Numerous black activists in New York City and elsewhere had forecasted that Mr. Lee's film would not accurately depict the essence of Malcolm. "Don't mess Malcolm up," was a refrain the director heard over and over again.
Hello, I'm Omar Moore. I was born and raised in London, where I grew up before moving to New York City with my parents. After branching out in the Big Apple on my own for a number of years, I moved west to San Francisco. I love America and its promise. We all need to do our small part to make this great country even better for all. Where a film is concerned, it is never "only a movie." Images mean something. They have unyielding power and influence, whether in "Birth of A Nation", "Un Chien Andalou", "Night Of The Hunter", "Killer Of Sheep", "Persona", "Psycho", "A Clockwork Orange", "Blazing Saddles", "Straw Dogs", "Soul Man", "Chameleon Street", "Do The Right Thing", "Bamboozled" or "Irreversible". A filmmaker generally doesn't put images in a film if they are meaningless.
by Roger Ebert
CHAMPAIGN -- Roger Ebert's seventh annual Overlooked Film Festival unreeled here last week with appearances by auteurs and actors such as John Sayles, Guy Maddin, Mario Van Peebles, Jason Patric and Jason Scott Lee, among others.
HOLLYWOOD - "Million Dollar Baby" scored a late-round rally Sunday night at the 77th annual Academy Awards as Clint Eastwood's movie about a determined female boxer won for best picture and took Oscars for actress (Hilary Swank), supporting actor (Morgan Freeman) and director (Eastwood).
Read Roger Ebert's 1968 interview with Ossie Davis.
Ebert's Best Film Lists1967 - present
NEW YORK -- It was clear, after all the years of publicity and months of controversy, that "Malcolm X" had better be a good movie, or Spike Lee would go down with it. He had talked the talk, and now it was time to walk the walk.
CANNES, France -- The French New Wave was a rebirth of French films in the early 1960s, and the German new wave represented the same process in Germany in the 1970s. Now black American filmmakers are developing a new stylistic and personal vision that reached critical mass at this year's Cannes Film Festival. In May of 1991, here in the incongruous setting of the French Riviera, far from the urban settings of most of their films, the black new wave came of age.
For Gordon Parks, the first black director in the history of the Hollywood film, it all began more than 30 years ago when he was an assistant bartender on the North Coast Limited between Chicago and Seattle.
"Rebellion is one thing," Ossie Davis said. "Rebellion works some times in some places. But year in and year out, you can get more mileage out of wisdom and cunning. If you can't outfight the man, outsmart him."