Darkest Hour stands apart from more routine historical dramas.
* 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.
An article about the TIFF Ebert Tribute Luncheon honoring Wim Wenders on Sunday, September 10th.
Dan Callahan pays tribute to the late art-house goddess.
On the latest from Lynne Ramsay and Fatih Akin.
A tribute to the great cinematographer.
In search of a more inclusive look at the best directors of all time.
An interview with Olivier Assayas, writer/director of "Personal Shopper."
The latest on Blu-ray and DVD, including "Train to Busan," "The Accountant," "Deepwater Horizon" and many more!
Ben Kenigsberg predicts that "Toni Erdmann" will win the Palme d'Or.
A recap of the 2016 TCM Classic Film Festival.
An interview with film critic Owen Gleiberman about his new book Movie Freak: My Life Watching Movies.
An examination of the influence of Antonioni's "L'avventura" on "Clouds of Sils Maria" and "About Elly", both opening this week.
Roger Ebert's essay on film in the 1978 edition of the Britannica publication, "The Great Ideas Today."
A feature on the latest major Blu-ray, Netflix, and On Demand releases, including "Gone Girl," "The Boxtrolls," "The Zero Theorem," "Coherence," and more.
A history and appreciation of R.W. Fassbinder on the launch of a retrospective screening series at the Lincoln Center.
The new Batsuit; the great Stevie Wonder; Cannes jury president Jane Campion calls out film industry sexism; Godzilla and Fassbinder.
A less kind and gentle Nora Ephron; Ira Sachs' favorite movies about love; Google Glass in film schools; Marlon Brando as cinema's Raging Bull; the impossibility of being literal.
Sheila writes: Thank you all for taking the time to answer our survey! We will keep you posted on any changes that may come about. So let's get to the newsletter, shall we? Jack Kerouac famously wrote the majority of "On the Road" on one long scroll of paper. Kerouac found that taking the time to remove the finished pages off of the typewriter and replacing them with a fresh sheet interrupted his flow. California artist Paul Rogers, who has done ten book covers for Random House UK of Hemingway classic, has created an online scroll of beautiful illustrations for Kerouac's novel. Evocative and gritty, they make a great companion piece for "On the Road". You can see more of Paul Rogers' cool work at his site.
A box set of early Fassbinder films sees him working through pastiches of film noir and melodrama as he fins his way to his distinctive themes and style.
Michał Oleszczyk catches up with two takes on troubled youth: François Ozon's "Young & Beautiful" and Sofia Coppola's "The Bling Ring."
Ben Kenigsberg looks forward to the parallel programs at this year's Cannes Film Festival.
Seasonal anticipation: as 2013 debuted, many were feeling it. The 28th iteration of the Santa Barbara International Film Festival, aka "SBIFF," was on the wind, with jazzed moviegoers soon to converge elbow-to-elbow in a familiar, even familial, and happy bustle on downtown's State Street.
I was among the excited, as this would be my third year covering the festival. And for me, extra sweetening would be provided by the tribute to Daniel Day-Lewis, the oft-reticent acting genius whose reanimation of Abraham Lincoln seemed certain to bring another Best Actor Academy Award -- his 3rd, making him the only actor to surpass Marlon Brando, who received 2.
Marie writes: the following moment of happiness is brought to you by the glorious Tilda Swinton, who recently sent the Grand Poobah a photo of herself taken on her farm in Scotland, holding a batch of English Springer puppies!
This week we'll be treated to a big advertising campaign for "Spy Kids: All the Time in the World in 4D." I have not seen the film, but I have experienced the process.
Yes, the Scratch-n-Sniff card is back, this time advertised as Aromascope. We have come a long way since Odorama and Smell-O-Vision. Well, maybe not that long a way.
I do not know what Jean-Luc Godard's "Film Socialisme" does because I haven't had the opportunity to see it. But the initial reviews from Cannes are, incredibly, the same ones he's been getting his entire career -- based in part on assumptions that Godard means to communicate something but is either too damned perverse or inept to do so. Instead, the guy keeps making making these crazy, confounded, chopped-up, mixed-up, indecipherable movies! Possibly just to torture us. Many approach the films themselves as though they are puzzles designed to frustrate (and to eventually be "solved"), then they blame Godard for not doing a better job of solving them himself because they're too hard. Herewith, a sampling of New York Times reviews over the years. Just about any of them could be about any of Godard's movies -- and, positive or negative, some are noticeably more perceptive than others. A key with the "answers" (who wrote what about which film) is at the bottom.
1. Mr. Godard sometimes makes his storytelling more difficult than it needs to be.
2. And neither can Mr. Godard make us understand why the wife in his drama suddenly tells him she has contempt for him and decides to leave. Has she lost faith in him? Is she bored? Or is she just fed up with watching him wear his hat all the time?
Evidently, Mr. Godard has attempted to make this film communicate a sense of the alienation of individuals in this complex modern world. And he has clearly directed to get a tempo that suggests irritation and ennui.