The Standoff at Sparrow Creek
It’s the kind of movie that will make “Underrated” lists in ten months. Don’t wait that long. See it now.
* 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 report from this morning's Golden Globes nominations announcement, and a full list of the nominees.
Matt writes: The 2017 installment of the Sundance Film Festival, running from January 19th through the 29th in Park City, Utah, is making headlines with its latest slate of enticing titles, and RogerEbert.com is providing in-depth coverage there every day. Take a look at Nick Allen's preview article for an overview of the most anticipated selections, and skim through our site's Sundance section to find an updated list of the most recent articles. For a supremely fascinating flashback, check out Roger Ebert's article about the first Sundance Film Festival, published on July 5th, 1981.
A look at what's coming to theaters this January through April.
A book review of the companion for the now-delayed "The Little Prince."
A tribute to the late, great, unbelievable artist that is David Bowie.
A recap and report from backstage at the 73rd Annual Golden Globes.
A preview of the 73rd Golden Globes ceremony airing Sunday night, and some predictions.
An article about the Golden Globe presenters scheduled to attend the Jan. 10th telecast.
An article on the 2016 Golden Globe nominees.
A review of FX's "The Comedians" and "Louie".
After spending years in the long comedy shadow of regular collaborator and scene-stealer Ricky Gervais, Stephen Merchant steps into the awkward spotlight of HBO's new comedy "Hello Ladies."
Netflix's move into television content has been bold and much-hyped. Can they get us beyond the old binary of comedy and drama that has dominated television for so long?
At their big D23 Expo event, Disney unleashed some stars and a lot of tantalizing info about live action films.
August, 2012, marks the 20th anniversary of the debut of "The Larry Sanders Show," episodes of which are available on Netflix Instant, Amazon Instant, iTunes, and DVD. This is Part 2 of Edward Copeland's extensive tribute to the show, including interviews with many of those involved in creating one of the best-loved comedies in television history. Part 1 (Ten Best Episodes) is here.
"Unethical? Jesus, Larry. Don't start pulling at that thread; our whole world will unravel." -- Artie (Rip Torn)
by Edward Copeland
Unravel those threads did -- and often -- in the world of fictional late night talk show host Larry Sanders. On "The Larry Sanders Show," the brilliant and groundbreaking HBO comedy that paid attention to the men and women behind the curtain of Sanders' fictional show, the ethics of showbiz were hilariously skewered.
The Grand Poobah writes: Unless we find an angel, our television program will go off the air at the end of its current season. There. I've said it. Usually in television, people use evasive language. Not me. We'll be gone. I want to be honest about why this is. We can't afford to finance it any longer.
To read the full story, visit "The Chimes at midnight" on the Blog.
AP -- BEVERLY HILLS, Calif. – The science-fiction blockbuster "Avatar" won best drama at the Golden Globes and picked up the directing honor for James Cameron on Sunday, raising the "Titanic" filmmaker's prospects for another Academy Awards triumph.
While humor is a matter of personal taste, it's also a matter of misdirection (like magic), of absurd juxtapositions that violate expectations... and taboos. Perhaps you remember the image of one state politician's head pasted onto the body of another's baby -- and the latter's preposterous (and disingenuously exploitive) allegation that it was actually making fun of her child, rather than the politico who was portrayed as a baby. No one has been able to explain how ridiculing a baby could have been intended as funny, or as satire -- but, then, you'd have to be awfully thick to honestly believe that was the intent in the first place.
So, here's another strange one: In his new stand-up show, "Science," Ricky Gervais (best-known co-creator and star of BBC's "The Office" one of the great comic achievements of Modern Man) made a joke about regretting drinking and driving. You may or may not think it's funny, but here's the gist, according to Gervais:
One of the things film critics do for a living is to pay close attention to how people behave, and how that behavior is presented through visual media. This applies not only to actors playing characters, but to people who play themselves, in fictional or nonfictional settings, on and off the screen. It should come as no surprise to learn that some of our best movie critics have backgrounds in psychology.
When Bill Clinton said, "I did not have sex with that woman," it now seems impossible to believe that he fooled anyone at that particular moment. But if any movie critic misread Clinton's voice and body language, that critic should have been impeached. As opaque as the clumsy verbal gymnastics of George W. Bush and Sarah Palin may often be, behind the contortions it's hard to avoid seeing the painful truth, which is simply that they don't know what their own words mean, and even when they know what they've been told to say they don't know how to communicate it. As actors, they're thoroughly unconvincing: You can see the wheels turning inside their heads -- only the gears aren't even engaged. There's a lot of whirring and spinning, but nothing happens. That can be excruciating to watch, but it's also the stuff of modern comedy. Christopher Guest, Ricky Gervais, Steve Carell, Tina Fey, Jon Stewart, Samantha Bee, Stephen Colbert and the whole Judd Apatow crew come to mind.
Patrick Goldstein, writing in the Los Angeles Times, argues that film critics like Roger Ebert, sophisticated in their knowledge of media presentation and human behavior, make more insightful political pundits than the usual beltway-bubble spin-docs employed by television, radio, print and online outlets. In a piece called "From film critic to political pundit," Goldstein writes:
To me, film critics, like TV and theater critics, are especially well equipped to analyze today's politics, which is why Frank Rich made such a seamless transition from theater to media and political commentator. In fact, in some ways film critics are probably better equipped to assess the political theater of today's presidential campaigns, since our campaigns are -- as has surely been obvious for some time -- far more about theater and image creation than politics.
The cast of the Oscar-favorite film, "Home for Purim."
"For Your Consideration" -- Christopher Guest is blessed with the finest comedic stock company since the heyday of Preston Sturges. Guest, Catherine O'Hara (Goddess of Funny), Eugene Levy, Michael McKean, Harry Shearer, Parker Posey, Jennifer Coolidge, Jane Lynch, John Michael Higgins, Bob Balaban, Ed Begley Jr., Michael Hitchcock, Paul Dooley, Jim Piddock, Larry Miller... I get a thrill just seeing them share screen space in various combinations (and this time they've added Ricky Gervais and Sandra Oh to the mix). Every few years when they get together (the last time they were together was "A Mighty Wind" in 2003), it's like seeing old friends for whom you will always harbor a deep and abiding affection. Here's hoping they keep reuniting for many movies to come.
In "FYC," the subject isn't so much the movie industry (Guest already made the best American dissection of the contemporary film business back in 1989 with "The Big Picture") as the awards and publicity industry. We join a film in production -- a kind of kosher Tennessee Williams melodrama about a Jewish family in the South during the war, called "Home for Purim." Somebody on the web (or the "World Wide Internet" as the typically clueless HollyLuddites call it) claims the lead actress (played by O'Hara), an '80s sitcom star who's been virtually forgotten by the public and the industry, may be giving an "Oscar-worthy" performance, and a rumor is born that (as in "The Big Picture") takes on a life of its own.