This is rare, nuanced storytelling, anchored by one of Brad Pitt’s career-best performances and remarkable technical elements on every level. It’s a special film.
* 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.
One of the more singular moviegoing experiences that I can recall attending.
A preview of Chicago's Cinepocalypse festival, which runs from June 13 to 20 at the Music Box Theater.
Matt writes: On August 2nd, Chaz Ebert announced that RogerEbert.com is gender balancing its regular rotation of film critics. Nell Minow, Monica Castillo and Tomris Laffly join Sheila O’Malley and Christy Lemire to round out the website’s roster of female critics to achieve a fifty-fifty split of five women and five men. The site also will publish more frequent contributions by diverse critics, including Castillo and Odie Henderson, who bring valued perspectives from their Cuban- and African-American roots. Minow has also been appointed the website's first female assistant editor.
A report from Knoxville's fascinating Big Ears Festival.
A look at why the "Fast & Furious" franchise has become an international juggernaut.
How we discuss celebrity deaths; Maria Bello's modern coming-out; filmmaker Ava DuVernay on black films and filming black people; best books of 2013; how graphics are innovating documentaries.
Paul Walker, who died yesterday in a car crash at 40, was an action film star known for his Everyman charm and his ability to provide a dependable center for the craziness around him.
Ted Hope gives thanks (about the indie film biz); how the "Catching Fire" movie outstrips the book; animals are still being harmed in many films; why "Boardwalk Empire" Season 4 is a masterpiece; men who explain rap to women.
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...
Marie writes: If I have a favorite festival, it's SXSW and which is actually a convergence of film, music and emerging technologies. However it's the festival's penchant for screening "quirky" Indie movies which really sets my heart pounding and in anticipation of seeing the next Wes Anderson or Charlie Kaufman. So from now until March, I'll be tracking down the best with the zeal of a Jack Russell terrier! Especially since learning that Joss Whedon's modern B/W take on Shakespeare's "Much Ado About Nothing" is set to screen at SXSW 2013 in advance of its June 21st US release date; they'll cut an official trailer soon, rubbing hands together!
Earlier this week Wesley Morris of the Boston Globe became only the fourth film critic to receive a Pulitzer Prize, after Roger Ebert (Chicago Sun-Times, 1975), Stephen Hunter (Washington Post, 2003) and Joe Morgenstern (Wall Street Journal, 2005).
A few other movie critics have been named as Pulitzer finalists -- Stephen Schiff (Boston Phoenix, 1983), Andrew Sarris (Village Voice, 1987), Matt Zoller Seitz (Dallas Observer, 1994), Stephen Hunter (Baltimore Sun, 1995), Peter Rainer (New Times Los Angeles, 1998), Ann Hornaday (Washington Post, 2008), A.O. Scott (New York Times, 2010) -- and I've read and admired many of them over the years.
I was first impressed by Morris's writing when he was in San Francisco, where he wrote for both the Chronicle and the Examiner, in the late 1990s. With him and Ty Burr on the movie beat, the Boston Globe now has one of the best critical teams around. And that's saying something: The New York Times team of A.O. Scott and Manohla Dargis is far and away the finest in that paper's history.
The Pulitzer submissions from Morris (who's only 36) covered films and subjects such as "The Help," "Mission: Impossible - Ghost Protocol," "The Tree of Life," "Drive," the "Fast and Furious" series, "Scream 4," "Weekend," "Water for Elephants," Sidney Lumet and Steve Jobs. A few excerpts to give you an idea of what earned him the prize:
Marie writes: Ever since he was a boy, photographer John Hallmén has been fascinated by insects. And he's become well-known for photographing the creatures he finds in the Nackareservatet nature reserve not far from his home in Stockholm, Sweden. Hallmén uses various methods to capture his subjects and the results are remarkable. Bugs can be creepy, to be sure, but they can also be astonishingly beautiful...
Blue Damsel Fly [click to enlarge photos]
Latest Contrarian Week News:
In his New York Observer year-end wrap-up (and ten-best list), Andrew Sarris attempts to steal the thunder of one of his New York "alternative weekly" rivals.
Sarris writes: Fortunately, modern technology makes it almost impossible for a good movie to get “lost” because of end-of-the-year mental exhaustion. So, with the proviso that I still have a great deal of catching up to do, here are my considered choices for the various 10-best categories, and one of my patented 10-worst lists under the provocative heading of “Movies Other People Liked and I Didn’t.” I am not at all deterred in dishing out my annual supply of negativity by the correspondent who informed me last year that he preferred all the films on my 10-worst list to all the films on my 10-best list. I have long ago become resigned to my fate as a reviled revisionist ever since my first column in The Village Voice in 1960 hailed Alfred Hitchcock as a major artist for "Psycho," and inspired more hate mail than any Voice column had received up to that time. That clinched my job at the ever-contrarian Voice, and I have simply gone on from there.So, how contrarian is the "reviled revisionist" 46 years later? Let's see:
"The Departed" as best film of the year. (Only in New York!)
"Blood Diamond" as #5.
Best Supporting Actresses: 1) Jennifer Connelly, "Blood Diamond" 2) Gong Li, "Miami Vice" 3) Maggie Gyllenhaal, "World Trade Center"
And then there's this: Other striking male performances were provided by: Leonardo DiCaprio, Matt Damon, Mark Wahlberg, Martin Sheen, Ray Winstone, Alec Baldwin and Anthony Anderson in The Departed; Edward Norton, Liev Schreiber and Toby Jones in The Painted Veil; Wim Willaert in When the Sea Rises; Leslie Phillips and Richard Griffiths in Venus; Clive Owen, Denzel Washington, Christopher Plummer, Willem Dafoe, and Chiwetel Ejiofor in Inside Man; Ken Watanabe, Kazunari Ninomiya, Tsuyoshi Ihara, Ryo Kase and Shido Nakamura in Letters from Iwo Jima; Greg Kinnear, Steve Carell, Alan Arkin and Paul Dano in Little Miss Sunshine; Edward Norton, Paul Giamatti and Rufus Sewell in The Illusionist; Patrick Wilson, Jackie Earle Haley, Noah Emmerich, Gregg Edelman and Ty Simpkins in Little Children; Keanu Reeves, Christopher Plummer and Dylan Walsh in The Lake House; Nicolas Cage, Michael Pena and Stephen Dorff in World Trade Center; Tim Blake Nelson, Pat Corley, Jeffrey Donovan, Stacy Keach and Scott Wilson in Come Early Morning; Ryan Gosling and Anthony Mackie in Half Nelson; Jason Schwartzman, Rip Torn, and Danny Huston in Marie Antoinette; Matt Damon, Michael Gambon, Alec Baldwin, William Hurt, Billy Crudup, Robert De Niro, Keir Dullea, Timothy Hutton, Eddie Redmayne, Mark Ivanir and Joe Pesci in The Good Shepherd; Hugh Jackman, Patrick Stewart, Ian McKellen, Kelsey Grammer, James Marsden, Shawn Ashmore, Aaron Stanford, Vinnie Jones and Ben Foster in X-Men: The Last Stand; Mads Mikkelsen, Jeffrey Wright, Giancarlo Giannini, Simon Abkarian, Sebastien Foucan, Jesper Christensen and Tobias Menzies in Casino Royale; Ebru Ceylan and Mehmet Eryilmaz in Climates; Adrien Brody, Ben Affleck and Bob Hoskins in Hollywoodland; Jamie Foxx, Danny Glover, Keith Robinson and Hinton Battle in Dreamgirls; Brian O’Halloran, Jeff Anderson, Jason Mewes, Trevor Fehrman, Kevin Smith and Jason Lee in Clerks II; Justin Kirk and Jamie Harrold in Flannel Pajamas; Stanley Tucci, Simon Baker and Adrian Grenier in The Devil Wears Prada; Will Ferrell, Dustin Hoffman and Tom Hulce in Stranger Than Fiction; Samuel L. Jackson, Curtis Jackson, Chad Michael Murray, Sam Jones III and Brian Presley in Home of the Brave; Harris Yulin, Ty Burrell and Boris McGiver in Fur: An Imaginary Portrait of Diane Arbus; Max Minghella, John Malkovich, Jim Broadbent, Matt Keeslar, Ethan Suplee, Joel David Moore and Nick Swardson in Art School Confidential; Joseph Cross, Brian Cox, Joseph Fiennes and Alec Baldwin in Running with Scissors; Jamie Foxx, Colin Farrell, Ciarán Hinds, Justin Theroux, Barry Shabaka Henley, Luis Tosar and John Ortiz in Miami Vice; Michael Sheen, James Cromwell, Alex Jennings, Roger Allam and Tim McMullan in The Queen; Samuel L. Jackson, Ron Eldard, William Forsythe, Anthony Mackie, Marlon Sherman and Clarke Peters in Freedomland; Vin Diesel, Peter Dinklage, Linus Roache, Alex Rocco, Ron Silver and Raul Esparza in Find Me Guilty; Josh Hartnett, Bruce Willis, Stanley Tucci, Morgan Freeman and Ben Kingsley in Lucky Number Slevin; Hugh Grant, Dennis Quaid, Chris Klein, Shohreh Aghdashloo, John Cho, Tony Yalda, Sam Golzari and Willem Dafoe in American Dreamz; Keanu Reeves, Robert Downey Jr., Woody Harrelson and Rory Cochrane in A Scanner Darkly; Adam Beach, Ryan A. Phillippe, Jesse Bradford, John Benjamin Hickey, Jon Slattery, Barry Pepper, Jamie Bell, Paul Walker and Robert Patrick in Flags of Our Fathers; Chow Yun-Fat in Curse of the Golden Flower; Sergi López, Doug Jones, Álex Angulo and Federico Luppi in Pan’s Labyrinth; Bill Nighy in Notes on a Scandal.Take that, A----- W----!
Paul Walker is scared. And he's running.
Wayne Kramer, the director of "The Cooler" and "Running Scared," took the negative reviews of his last picture pretty hard. They weren't all negative, though. Roger Ebert gave "Running Scared" three stars and wrote a dizzying description: Speaking of movies that go over the top, "Running Scared" goes so far over the top, it circumnavigates the top and doubles back on itself; it's the Mobius Strip of over-the-topness. I am in awe. It throws in everything but the kitchen sink. Then it throws in the kitchen sink, too, and the combo washer-dryer in the laundry room, while the hero and his wife are having sex on top of it.That kind of "pushing the envelope," as he's phrased it in interviews, appears to be pretty much what Kramer was going for.
But Kramer evidently felt there was some kind of critical curse on his film, which came out on DVD last week. In an interview with Scott Collura at Now Playing Magazine, Kramer says: I feel it’s just one of those movies that people are gonna - That the marketing did not create an appealing image of what the film was, whether it be the trailers or posters, or whatever it was. People felt like this wasn’t something they needed to go see. Now, hopefully when they do see it, they’ll go, “Wow! We really misjudged this film,��? Or, “It’s a lot better than I was led to believe.��? We had some good reviews. I don’t mean to say every critic hated the film. We had like Roger Ebert, and Quentin Tarantino’s a big fan of the film and really comes out strongly for it; and Andrew Sarris and guys like Mick LaSalle. But if you check out a site like Rotten Tomatoes -- I kind of have mixed feelings about that site because every Internet jerk with a website gets to play film critic. And usually it attracts the more elitist, snobbish sites that I just despise like Slant.com [actually, it's slantmagazine.com]. Have you ever seen those guys? I mean they hate movies.
WK: And you can print that, too. Please.
NP: I will!
"The raid was so successful," John Dahl was saying, "that at the movie's first test screenings, audiences wouldn't believe it. We had to add titles at the end telling them it was a true story."