With its single setting and real-time story, The Guilty is a brilliant genre exercise, a cinematic study in tension, sound design, and how to make…
* 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.
A dispatch from the 2018 Reykjavík International Film Festival, featuring reviews of Christian Krönes and Florian Weigensamer’s "Welcome to Sodom," Marta Prus’ "Over the Limit" and Golden Egg contenders including Heui Son’s "Daughter's Table."
Elisha Christian on "Columbus" and "Everything Sucks!"; Superheroes and neoliberalism; Istanbul Film Festival soldiers on; Chatting with William H. Macy; Belafonte and Clark.
A Far Flung Correspondent takes a closer look at Kogonada's Columbus.
A recap of the third day of Ebertfest.
A review of Netflix's fun "Lost in Space" reboot.
A report from the WonderCon panel on Netflix's new "Lost in Space."
An article commemorating the 2018 Chinese New Year, the Year of the Dog.
A preview of the 5th Chicago Critics Film Festival, which runs from May 12-18 at the Music Box Theater.
The competition titles for Sundance 2017 have been announced.
An extensive preview of 50 films coming out within the next four months, from "Sully" to "Toni Erdmann."
A dispatch from the Venice Film Festival on the latest from Terrence Malick and Laurie Simmons.
A preview of the 2016 Toronto International Film Festival.
A review of Woody Allen's new film, which just premiered at the 2016 Cannes Film Festival.
Karyn Kusama is not going away; Why music biopics fall flat; Pupinia Stewart is stealing my sanity; Interactive storytelling reshaping cinema; Price of "Girlfriend Experience" too high.
Highlights of our 2015 interviews, including Brie Larson, Bryan Cranston, Jason Segel, Lexi Alexander, Sarah Silverman, Spike Lee, Tom McCarthy, Ramin Bahrani, Paul Feig, Charlie Kaufman and much more.
An interview with Parker Posey, star of "Irrational Man."
Ben Kenigsberg reviews Arnaud Desplechin's lovable coming-of-age prequel "My Golden Days."
A Cannes report on the latest from Yorgos Lanthimos and Woody Allen.
David Lowery on "Stray Dogs"; Black stars top box office; What makes a film "gay"; David Lynch on "Eraserhead"; 10 worst films on "Mystery Science Theatre 3000."
Marie writes: The Ebert Club Newsletter is now three years old! And the occasion calls for some cake - but not just any old cake, as it's also now officially Spring! And that means flowers, butterflies and ladybugs too. Smile.
Marie writes: Intrepid club member Sandy Khan has sent us the following awesome find, courtesy of a pal in Belgium who'd first shared it with her. "Got Muck?" was filmed by diver Khaled Sultani (Emirates Diving Association's (EDA) in the Lembeh Strait, off the island coast of Sulawesi in Indonesia. Camera: Sony Cx550 using Light & Motion housing and sola lights. Song: "man with the movie camera" by cinematic orchestra.
Oh my. Here we go again with all the deathiness. Movie criticism keeps dying deader and deader. Film itself has keeled over and given up the ghost. Cinema ist kaput, and at the end of last month "movie culture" was pronounced almost as deceased as John Cleese's parrot. Ex-parrot, I mean. Then the movie "Looper" came out, posing questions like: "What if you could go back in time? Would you kill cinema?" Or something like that.
People, this dying has gotta stop.
Marie writes: It's that time of year again! Behold the shortlisted nominees for The Turner Prize: 2012. Below, Turner Prize nominee Spartacus Chetwynd performs 'Odd Man Out 2011' at Tate Britain on October 1, 2012 in London, England.
(click image to enlarge.)
It's not enough to say that Louis C.K.'s "Louie" is the finest, funniest, most adventurous half-hour comedy on television. It's not even necessarily accurate, since the series is more like a short story anthology than any kind of sitcom you've ever seen. Yes, Louie is the main character, a divorced New York stand-up comedian whose observations and adventures provide the backbone for the stories (sometimes more than one per show), but other characters or storylines may or may not continue beyond the half-hour in which they're introduced. Last season, for instance, Louie found himself in temporary but indefinite custody of his 13-year-old niece at the end of the episode... but she never reappeared.
The flighty, fidgety bookstore employee played by Parker Posey, whose name we don't discover until the last word of the two-parter called "Daddy's Gilfriend" (it's Liz), is unlikely to show up again, but Posey says she'd love to come back in the role he originally envisaged for her -- as his shrink. This, I think, is a good thing. Liz's function was to act as a force of instability, to shake Louie out of his risk-averse routine. And, boy, did she succeed. She is fascinating, goofy, beguiling -- and baffling, frustrating, unsettling, frightening, exhausting, all in one volatile, bubbling cauldron of moods and impulses. You can read it all in Louie's face as he attempts to figure out what to make of her, from situation to situation, moment to moment, all through the night. (His range of tentative reactions reminded me of the wife of bus driver Mark Ruffalo in "Margaret," who churns through turbulent sequence of responses as she tries to get a read on Lisa Cohen and what she could possibly want from her husband.)