Maleficent: Mistress of Evil
Despite flashes of inspiration, this sequel to the unexpectedly compelling Maleficent can't seem to get out of its own way.
* 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 review of the phenomenal new Netflix show starring Jonah Hill and Emma Stone.
Burt Reynolds' mix of deep talent and light-footed charisma was unique.
A look back at this past week's TCM Classic Film Festival, including the special guests and screenings.
A look at the contenders for Best Actress and Best Supporting Actress this year and how many of them play a historically-beloved role for Oscar, the mother.
An in-depth look at an ambitious retrospective at NYC's Film Society of Lincoln Center that celebrates one of cinema's greatest years.
Writer/director Amy Heckerling takes a look back at her career.
A tribute to the late film buff, author and Turner Classics Movies host, Robert Osborne.
A collection of some of our favorite interviews from 2016.
A packed version of our Blu-ray guide with thoughts on "Knight of Cups," "Midnight Special," "10 Cloverfield Lane," "45 Years" and many more!
The year to date in cinema as seen by our contributors.
30 Minutes on the latest by Jeff Nichols ("Take Shelter," "Mud").
An interview with Sally Field about Hello, My Name is Doris, along with a special cameo from director Michael Showalter.
Why comic books are radical; How Franklin was born; The Monkees's "Head"; Burt Reynolds has some regrets; The "Ishtar" effect.
A piece on the wave of new Black women directors, including Gina Prince-Bythewood, Amma Assante, Ava DuVernay and Dee Rees.
The Abraham Lincoln Presidential Library Foundation honored award-winning filmmaker Steven Spielberg with the prestigious Lincoln Leadership Prize at a dinner ceremony Wednesday at the Hilton Chicago.
The director of "Lincoln" is honored by the Abraham Lincoln Presidential Library Foundation.
Troll the NSA; clashes continue in Turkey; the "familiar profile" of the Santa Monica killer; wash your hands!; actresses in Hollywood are having a worse/better time of it; Lego faces getting angrier; great tracking shots.
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.
Listen -- a billion people are throwing up. That's a rough estimate of course, but every year somebody at the Oscars says a billion people on the planet are watching the program; however many watched this year's Oscar show, they may well have felt sickened by it. It was a stomach-churning, jaw-dropping debacle, incompetently hosted and witlessly produced.
Between Two Ferns: Oscar Buzz Edition Part 2 from Zach Galifianakis
At the heart of Steven Spielberg's "Lincoln" is a quiet scene between President Abraham Lincoln (Daniel Day-Lewis) and two young men, Samuel Beckwith (Adam Driver) and David Homer Bates (Drew Sease), in an otherwise empty telegraph cipher office. Lincoln has to make a crucial decision: Does he consider a peace proposal from a Confederate delegation on its way to Washington, and thus perhaps immediately end the bloody Civil War that has claimed the lives of more than half a million Americans, knowing that it would doom his attempt to pass the Thirteenth Amendment to the Constitution, officially banning slavery in the United States? Or does he try to legally solidify and extend his Emancipation Proclamation by getting the Thirteenth Amendment passed during a narrow window of opportunity (during the lame duck session of Congress between his re-election and second inauguration) at the cost of extending the war?
Steven Spielberg's "Lincoln" (2102) is exactly what we would expect it to be. It is reverent. It is of such epic scope, with such microscopic attention to detail, that it competes with any period piece in the history of cinema. Daniel Day-Lewis disappears into Abraham Lincoln. So many supporting players ornament this film that a familiar face appears on screen every few minutes, adding depth, personality, and charm. Tony Kushner's script is complex, pious, and at times mesmerizing. Janusz Kaminski's cinematography, mixed with Rick Carter's production design, provides a portrait in every frame.