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.
Who and what you should nominate for Emmys this year.
A history of Gary Oldman's performances.
On the best acting we saw at the Sundance Film Festival.
The winners of the festival's jury and audience awards were announced on Saturday night.
A review of two new competition titles this year from Reed Morano and Sebastian Silva.
A look at 20 of the most promising films of the 2018 Sundance Film Festival.
Chaz Ebert lists her favorite films of 2017.
Two dozen of our favorite performances from 2017.
110 independent films have been announced to premiere at next January's Sundance Film Festival.
On three TIFF premieres, including films starring Emma Thompson, Richard Gere, and Helena Bonham-Carter.
The 25 films we're most excited to see during the fall of 2017.
A review of NBC's "Emerald City," premiering January 6th.
Premieres, Midnights, Special Events and more have been announced for next month's Sundance Film Festival.
A TV critic's picks for the best TV of 2015-16.
A preview of dozens of films coming out this summer.
The latest and greatest on Blu-ray and DVD, including Room, The Big Short, Carol, and many more.
An FFC looks at the gross gender politics of "Pixels."
What should be nominated for Emmys this year? Let us guide the way.
A review of the start of the fifth season of "Game of Thrones".
A guide to the latest on Blu-ray and DVD, including "The Tale of the Princess Kaguya," "St. Vincent," and four fantastic Criterion releases.
Picks for the best of the 2013-14 television season, in the form of a Dream Emmy ballot.
Brian Tallerico reviews the new seasons of Game of Thrones, Veep, and Silicon Valley on HBO.
"As film exhibition in North America crowds itself ever more narrowly into predictable commercial fodder for an undemanding audience, we applaud those brave, free spirits who still hold faith with the unlimited potential of the cinema." - Roger
Here's my latest "Mad Men" video, inspired by "The Other Woman" (Season 5, Episode 11). It's my favorite kind of video analysis/criticism: no narration, no inter-tiles, just interwoven images, dialog and music.
NOTE: Don't even think of reading this if you haven't seen "The Other Woman," yet.
"The Other Women," the 11th installment in "Mad Men" Season 5, has one of those great titles (like "Shut the Door. Have a Seat," "The Rejected," "Tomorrowland," "Far Away Places") that keeps resonating as you think back on the episode itself. It begins in a meeting of creative executives in the Sterling Cooper Draper Pryce conference room, as Stan tosses out the primary theme -- of the episode and the Jaguar account pitch: "Jaguar: The mistress who will do things your wife won't." And that's the usual definition of "the other woman" -- the rival for the heterosexual breadwinner's affections, the spicy dish on the side. As Megan phrases it, the Jaguar is the mistress and the wife is the Buick at home in the garage. But that's only the beginning.
All three of the show's central female characters have been "other women" under certain circumstances, with various men. Joan has long been Roger Sterling's "other woman" -- not just his extra-marital go-to girl, but his office wife... and (unbeknownst to everyone else) the mother of his child. Peggy slept with Pete on the eve of his wedding to Trudy, got pregnant, and gave up the kid for adoption. She's never slept with Don (though a lot of the people in the SCDP office think that's how she attained her position), but don't underestimate how much her personal and professional second-bananaship has contributed to Don's fortunes as well as her own. It was clear early on how much he preferred her company at work to Betty Draper's at home.
And then Megan came along -- first as an employee (Joan: "He'll probably make her a copy writer; he's not going to want to be married to his secretary") and then as Don's wife -- the "other woman" who, in the eyes of Peggy and the rest of the firm, distracts him from the advertising job to which he was formerly "married." Don is so smitten with her that the company practically has to sue for alienation of affection. ("You've been on love leave," Cooper chastises Don at the end of "Far Away Places." "It's amazing things are going as well as they are with as little as you are doing.")
It all culminates in the line finessed by Michael Ginsberg (the word "mistress" can't be in the ad) and delivered by Don in SCDP's pitch: "Jaguar: At last a thing of beauty you can truly own." That last word deserves some explication. Yes, in the presentation, Don likens the temperamental beauty of the Jaguar to a woman, but the whole point of the proposal is that, as everyone knows, a woman can't be "owned." A car can. I only mention this because I've seen a few commentators claim that "The Other Woman" is an episode about "men trying to own women," and I think that's a bit simplistic. OK, men might wish they could "own" women on some level, but not even Don Draper or Roger Sterling -- not even Pete Campbell, fer chrissakes -- really believes that is possible in 1967.¹
Marie writes: Behold an extraordinary collection of Steampunk characters, engines and vehicles created by Belgian artist Stephane Halleux. Of all the artists currently working in the genre, I think none surpass the sheer quality and detail to be found in his wonderful, whimsical pieces...
Left to right: Little Flying Civil, Beauty Machine, Le Rouleur de Patin(click images to enlarge)