The House with a Clock in Its Walls
Black, more than anyone else, should have been the one to wind up The House with a Clock in Its Walls. Too bad he doesn't…
* 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 look back at the Coen brothers' "No Country for Old Men."
A report from the Oscar press room at the 90th Academy Awards.
A recap of the 90th Academy Awards.
An article about the 2018 Academy Award nominees.
A report from the 2018 Critics Choice Awards.
An article about the L.A. Film Critics Association Awards (LAFCA) ceremony scheduled for Saturday, January 13th.
An article about the 2017 Alliance of Women Film Journalists' EDA Award Winners.
The winners for the 2017 Chicago Film Critics Association.
A Great Movie is hidden somewhere within "Blade Runner" and "Blade Runner 2049."
A celebration of "Blade Runner 2049" cinematographer Roger Deakins' Oscar-nominated work.
The 25 films we're most excited to see during the fall of 2017.
FFC Gerardo Valero reexamines the 2015 James Bond film "Spectre" after the dust has settled.
A list of the 2016 Academy Award nominees.
A dispatch from AFI Fest on Angelina Jolie Pitt's "By the Sea."
Amy Winehouse's "Frank"; "Mr. Robot" is the spiritual successor of "Fight Club"; "Pride and Prejudice and Zombies" director Burr Steers; Uncertain future of film criticism; Joe Gibbons goes to prison.
The July 2015 edition of The Unloved looks at Andrew Dominik's "The Assassination of Jesse James by the Coward Robert Ford."
Ben Kenigsberg hazards a few guesses as to what the Coen brothers' jury might pick.
Scout Tafoya and Olivia Collette make the case for Alexandre Desplat's score for "The Grand Budapest Hotel" to win the Oscar on Sunday with a fantastic video essay.
The official nominees along with some fun facts about this year's crop.
May 2014 Blu-rays of note.
What were the surprises, snubs and twists of today's Oscar nominations?
Michael Haneke's "Amour," which won the Palme d'Or last May at Cannes, was voted Saturday the best film of 2012 by the prestigious National Society of Film Critics. The award, coming on the eve of voting for the 2013 Academy Awards, confirms "Amour" as a Best Foreign Film frontrunner. Other NSFC winners will also draw welcome attention.
"Skyfall" is a theatrical film in the same way that its director, Sam Mendes, is a theatrical filmmaker. That is, its approach to organizing space for an audience (the camera lens) is noticeably stagey. I mean that in a "value-neutral" way. I just mean the frame is frequently used as a proscenium and the images are action-tableaux deployed for a crowd -- whether it's the designated audience surrogates in the movie (bystanders or designated dramatis personae), or the viewers in the seats with the cup-holders. That's not to say it's uncinematic (it's photographed by the great Roger Deakins!), but many of the set-pieces in "Skyfall" are conceived and presented as staged performance pieces.
I find it mind-boggling that something as trivial as an action film series could become such a constant presence in my life but that's been the case with the James Bond movies. It's not so much that their span happens to equal mine (to the very week, by the way) as I didn't start following them until I was 9 years old -- but ever since, they've always been around one way or another: from big theatrical openings to re-re-releases in the beat up movie houses of old; from Betamax tapings of network T.V. broadcasts (pausing the machine to edit the commercials), to the great looking discs of today. Every couple of years or so they have made their appearance and I've watched each one dozens of times regardless how good or bad they were, an odd fact for which I've had no reasonable explanation.