A stellar high school comedy with an A+ cast, a brilliant script loaded with witty dialogue, eye-catching cinematography, swift editing, and a danceable soundtrack.
* 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.
Matt writes: The 2018 SXSW Film Festival just wrapped this past weekend and featured a wide array of enticing titles headed for theaters and streaming platforms this year. Check out our table of contents providing reviews penned by Brian Tallerico and Nick Allen of festival selections such as Andrew Haigh's "Lean on Pete," John Krasinski's "A Quiet Place" and Steven Spielberg's "Ready Player One"
Greta Gerwig is the fifth woman to be nominated for the Oscar for Best Director.
A look at the entire career of Daniel Day-Lewis and how his work in "Phantom Thread" feels like the perfect finale.
A New York Film Festival report on three Big Apple premieres.
A look back at the films and faces seen at the 2017 Telluride Film Festival.
A look back at this past weekend's Telluride Film Festival, which included 9 in the main program directed by women.
Premieres at this weekend's Telluride Film Festival include the latest from Alexander Payne, Errol Morris, Greta Gerwig, Angelina Jolie, Guillermo del Toro and more.
An interview with director Rebecca Miller about her film "Maggie's Plan."
Rebecca Miller, Dawn Porter, Vera Egito, Lorene Scafaria and Debra Zimmerman speak at MIFF about institutional sexism and racism.
A look at the latest additions to the now-completed Sundance 2016 lineup.
An interview with Greta Gerwig and Lola Kirke, stars of Noah Baumbach's "Mistress America."
Memory lane with the Coen Brothers and John Goodman; the uncharacteristic reticence of Ronan Farrow; how our minds mislead us (let us count the ways); Ernst Lubitsch’s pre-code transgressions; Rebecca Miller on the importance of casting directors.
He had these smiling eyes. And a self-deprecating manner which seemed to belie his very good looks ("He's so cute," my 19-year-old assistant exclaimed), about which he was fairly oblivious. Most of all, he was simply a very good guy.
Gary Winick, a many-hats-wearing filmmaker and digital pioneer, died of complications following a 2 year battle with brain cancer on February 27th, the day of the Academy Awards --- an especially sad irony for a vital man, weeks shy of 50, whose passion for film and storytelling had filled the decades of his adult life.
The private memorial service was held at the Time-Warner Center in Winick's beloved New York. Overlooking Central Park as the sun set, an invited group of 400 (some going back to childhood, some famous, many with whom he'd worked, even some he'd made sure got a decent meal when they were struggling) assembled to watch film clips, to hear and tell stories - to cry, yes, but also to laugh at so many experiences they certainly cherish now.
TORONTO--If the 27th Toronto Film Festival closes after two days, it will have shown six wonderful films and one magnificently bloody-minded one--and I do not exclude the possible greatness of entries I have not yet seen.
After Cannes, the Toronto Film Festival is the most important in the world. Last year's festival was ripped in two on Sept. 11. I walked out of a screening, heard the news, and the world had changed. Now comes the 27th annual festival, opening today. Are movies important in the new world we occupy? Yes, I think they are, because they are the most powerful artistic device for creating empathy--for helping us understand the lives of others.
PARK CITY, Utah -- "Personal Velocity," a film by Rebecca Miller telling the separate stories of three women, won the Grand Jury Prize for best feature film here Saturday night at the Sundance Film Festival.
PARK CITY, Utah--From despair to victory, the South African documentary "Amandla!" has the widest range of emotion of any film at this year's Sundance. It follows the history of the struggle for freedom in terms of the movement's music--which was, as one singer observes, a weapon the apartheid government could not disarm.