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.
A review of "War & Peace," premiering tonight on A&E, Lifetime and The History Channel.
What should be nominated for Emmys this year? Let us guide the way.
"Life Itself" makes Oscar shortlist and collects accolades during the awards season.
What do "Sharknado 2," "The Honorable Woman," and "The Killing" say about the increasingly diverse TV landscape?
Brian Tallerico offers a look at the television we'll be talking about in 2014.
This piece is about director Neil Jordan's seven most overtly supernatural, fairy tale-like films—The Company of Wolves, High Spirits, Interview with the Vampire, The Butcher Boy, In Dreams, Ondine, and his latest, the mother-daughter vampire shocker Byzantium. An infographic analysis of each—please refer to the key for each symbol's meaning—reveals this pattern and confirms Byzantium is the culmination of 30+ years of Jordan exorcising his personal demons on-screen.
With its partly improvised dialogue and eruptions of argument, Mike Leigh's "Life is Sweet," now on Criterion DVD, gave viewers was insight into where the director had been, artistically. It also hinted at where he was going: into territory with far more visual and verbal polish.
"Stella Days" (87 minutes) available via iTunes, VuDu, Amazon Instant Video and most other VOD providers (check your local listings). It is also playing in limited theatrical release.
by Jeff Shannon
It seems somehow belittling to pigeon-hole the ever-so-Irish "Stella Days" as a comedy/drama or (saints forgive us!) as that dubious hybrid known as "dramedy." It is, more accurately, a heartfelt, thematically ambitious exploration of fragile faith confronted by rigid dogma, and its dramatic substance is leavened by the kind of wry, tenacious good humor that has defined the Irish character for centuries.
That low-key humor prevails throughout the film but is most evident in the opening scenes, as when Father Daniel Barry (Martin Sheen) arrives at the bedside of an old, dying woman on the outskirts of Borrisokane, the tiny town in North Tipperary that is home to Barry's parish. He's there to deliver last rites (not for the first time), but the old lady's as tenacious as a potato in barren Irish soil, and all she wants is to hear Father Barry's mellifluous Latin prayer so she can sleep peacefully and live to see another day.
"The last rites are not medicine," he tells her with fond familiarity, knowing he'll eventually return to deliver last rites for real. "Doctor Brady's your man for that."
"Oh, he could never cure me," says Peggy. "I don't know what I'll do when you go back to Rome."
There lies the rub: Father Barry doesn't know it yet, but he won't be returning to his post at the Vatican any time soon. He's a Catholic scholar, an intellectual desperately eager to finish his thesis on St. John at the Cross. He's far less rigid in his thinking than his uptight superiors, most notably Bishop Hegarty (Tom Hickey), a stern traditionalist who finds it necessary to remind Father Barry that "being an Irish parish priest is not a penance."
Marie writes: At first you think you're looking at a photograph. Then the penny drops, along with your jaw..."Alan Wolfson creates handmade miniature sculptures of urban environments. Complete with complex interior views and lighting effects, a major work can take several months to complete. The pieces are usually not exact representations of existing locations, but rather a combination of details from many different locations along with much of the detail from the artist's imagination. There is a narrative element to the work. Scenarios are played out through the use of inanimate objects in the scene. There are never people present, only things they have left behind; garbage, graffiti, or a tip on a diner table, all give the work a sense of motion and a storyline. Alan's miniature environments are included in art collections throughout the US and Europe." - Alan Wolfson - Miniature Urban Sculptures
"FOLLIES BURLESK" (1987)14 1/4 x 19 1/4 x 21 1/2 inches(click images to enlarge)
Marie writes: you've all heard of Banksy. But do you know about JR...?(click to enlarge image)
UPDATED 10/16: Here are brief reviews of all the Chicago Film Festival movies we have seen, in alphabetical order, written by Bill Stamets and Roger Ebert. More will be added as we view them. For a full CIFF schedule, go to www.chicagofilmfestival.com or call (312) 332-FILM.
By Bill Stamets and Roger Ebert
View image Me with post-festival headcold, after just getting back home and sinking into the comfort of my den-like Man Chair. (all photos by Jim Emerson, except as noted)
My taxi driver to the airport yesterday (he was Ethiopian, but had lived in Toronto for 18 years) asked me if I'd seen any "movie stars" at the film festival. I had to admit I hadn't -- although I've encountered people I consider to be movie stars on the street in past years: Luis Guzman, Liev Schreiber, Brian De Palma, Sara Polley, Stephen Rea, Jean-Pierre and Luc Dardenne...
View image The ubiquitous (and deservedly so) Girish. A man with cinecurean tastes. (That's a neologism of my own invention that is related to "epicure" and has nothing to do with "sinecure," I don't think.)
Toronto, at least at festival time, is a celebrity-mad city like no place I've ever seen. Celebrities make the front pages of the newspapers just because they're celebrities and they're in Toronto. Rogers cable used to have a non-stop TIFF schedule of celebrity gossip, celebrity interviews, off-the-cuff "reviews," and celebrity press conferences. I don't know if they did that this year, because I never turned on the television in my hotel room. (Meanwhile, TiVo was covering other necessities for me at home.)
View image Andy Horbal plays Mephisto at the foot of the Stairway to Heaven (the escalator to the Varsity Cinemas).
View image The House Next Door's Keith Uhlich took this shot of himself with his MacBook, outside the press office at the Delta Chelsea.
Some journalists and critics were doing celebrity interviews in addition to going to movies, with stars like George A. Romero (whose girlfriend was the bartender at my hotel!) or Jodie Foster or Brian De Palma or Bela Tarr -- in gang-bang roundtables or 15-30-minute individual sessions. The people I was most excited about getting to meet were my fellow movie bloggers. I had lunch with Girish Shambu between screenings in Toronto last year, and it was a pleasure to see him again, particularly since he enjoyed the oblique, androgynous eroticism of the luminous Eric Rohmer movie as much as I did. His highest recommendation was for Barcelona-born director Jose Luis Guerin's "Dans la ville de Sylvia" -- which, unfortunately, I missed. We also thought Lee Chang-dong's "Secret Sunshine" was among the very best things we'd seen.
View image Frames within frames within frames -- and film-festival bedhead. Me at work in my Toronto hotel room.
Keith Uhlich, editor of "The House Next Door," organized a mid-fest critics' roundtable podcast, 'round a tiny round table in Nathan Lee's hotel room with Nathan (whose byline should be familiar from the Village Voice, Film Comment, The New York Times), Torontonian eyeWeekly critic Adam Nayman, Keith, and me. It was too much fun -- we ran out of time long before we ran out of stuff we wanted to talk about. Of course, that was the morning I forgot to bring my camera. Too bad, because if you saw Nathan's new-mown haircut, you'd want to rub his head. It's that cool. (I'll post a link to the podcast when it's available, if you want to hear us go on about the trials of film critics filing reports and interviews from festivals, our indelible images from TIFF, Brian De Palma, Bob Dylan, Todd Haynes, semiotics [not much!], and I forget what else.)
View image Christopher Long, in Philly Eagles t-shirt, who has a woman on his right shoulder saying: "Come, have another cup of coffee!" and a man on his other shoulder saying: "No, there's a huge schedule of films to see -- what's next?"
I also got to meet up with Christopher Long, a frequent and valued contributor to Scanners comments, and reviewer for DVDTown and other sites. Chris claims to loathe Paul Haggis's "Crash" (and Sam Mendes's "American Beauty" -- two peas in a pod) even more than me. I don't know if that's possible, but I found him convincing. They both do the same morally corrupt thing, anyway: taking grotesque clichés and then flipping them around so that that they are... even more insulting clichés. All in the name of "enlightenment." We had a nice talk about our mutual admiration for Divine, too. Don't recall how that one came up.
I'm delighted to have more faces to put with the words I've appreciated from these folks for so long.
Enlarge image: Your eye just naturally alights on the figure to the right of the support...
Enlarge image: ...who moves slowly along the shore in the opposite direction of the camera. (Here, the person is dead center in the frame.)
From Edward Copeland:
When Jim asked me to submit something about my favorite opening shot from a movie, I was at first flummoxed -- it seemed all the best ones were obvious and would have been written on to death, so I dug through my memory to try to find a less-obvious choice. What I settled on was "The Crying Game." I was fortunate to see "The Crying Game" for the first time long before the hype about the "twist" kicked in, so I was genuinely surprised at the direction the film went in and I think, upon rewatching its opening, that the beginning was helpful to that end. Percy Sledge's great "When a Man Loves a Woman" plays on the soundtrack (the irony of that song will only sink in later) as the camera moves slowly under a bridge across a lake where on the other side sits an amusement park with Ferris wheels and various rides going round and round. If you had no idea going in where this film was headed, you certainly couldn't have figured it out by these images, though you'd be mesmerized nonetheless.
PARK CITY, Utah Of course I've seen all the wrong films so far at the Sundance Film Festival, according to the touts who whisper in my ear before screenings. It is always this way. You think you're seeing wonderful films, and everybody assures you that you've missed the masterpieces and are hopelessly out of the loop.
Hollywood has been waiting a long time to give Clint Eastwood an Oscar, and my hunch is, the wait is over. Eastwood's "Unforgiven," an elegiac Western about a retired gunfighter who pulls himself together for one final campaign, will win the best picture award when the Academy of Motion Picture Arts and Sciences gathers on the night of Monday, March 29.
"Unforgiven" and "Howards End," both about dying castes, one in the old West, one in England, led the 1993 Academy Award nominations Wednesday morning with nine mentions apiece.
Ebert's Best Film Lists 1967 - present