The House That Jack Built
Ultimately, it’s more of an inconsistent cry into the void than the conversation starter it could have been.
* 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 tribute to the late Tab Hunter, a gay matinee idol and Hollywood trailblazer.
This month's excerpt from online magazine Bright Wall/Dark Room is an essay by Paul Fischer about "A Streetcar Named Desire."
A recap of the latest New York Film Festival and review of Woody Allen's newest film after its world premiere there.
A preview of this year's Japan Cuts festival, which runs from July 13-23.
An article about the reissue of "Two Weeks in the Midday Sun."
A look back at Kasi Lemmons' 1997 film, "Eve's Bayou."
An interview with the legendary Sam Schacht about the art of Method Acting.
One of the most audacious American films from the 1960s is now available via the Criterion Collection.
An interview with director John McNaughton and star Michael Rooker on the 30th anniversary of Henry: Portrait of a Serial Killer
Roger's Favorites: actress Faye Dunaway.
A celebration of Anna Magnani's acting career on the occasion of a retrospective at the Lincoln Center running May 18-June 1.
An appreciation for Robert Zemeckis' 1992 dark comedy "Death Becomes Her," now available on Blu-ray from Shout! Factory.
A preview of Ebertfest 2016 and the first Ebert Humanitarian Award
A chronological commentary celebrating the performances of Gena Rowlands.
A reprint of an article by Greg Carpenter about the Confederate Flag.
Obituary for Marian Seldes.
An interview with Woody Allen about his new film, "Magic in the Moonlight."
An obituary for actor Eli Wallach.
Criterion partners with Martin Scorsese to offer amazing treasures of world cinema on Blu-ray and DVD.
Julie Harris seemed to bring her own special set of tools to the art of acting, making every performance, every line feel like a fresh discovery.
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 the third and final part 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 and Part 2 (The show behind the show) is here.
A related article about Bob Odenkirk and his characters, Stevie Grant and Saul Goodman (on "Breaking Bad"), is here.
by Edward Copeland
"It was an amazing experience," said Jeffrey Tambor. "I come from the theater and it was very, very much approached like theater. It was rehearsed and Garry took a long, long time in casting and putting that particular unit together." In a phone interview, Tambor talked about how Garry Shandling and his behind-the-scenes team selected the performers to play the characters, regulars and guest stars, on "The Larry Sanders Show" when it debuted 20 years ago. Shandling chose well throughout the series' run and -- from the veteran to the novice, the theater-trained acting teacher and character actor to the comedy troupe star in his most subtle role -- they all tend to feel the way Tambor does: "It changed my career. It changed my life."
Camille Paglia is known for being both brilliant and wacky (possibly wacko) -- often at the same time, which is probably when she's at her most inspired. A founding contributor at Salon.com (and co-star of "It's Pat: The Movie"), Paglia spoke on the phone to Salon editor Kerry Lauerman yesterday after the news of Elizabeth Taylor's death, and offered up an extraordinary tribute. I just wanted to share some of it with you. Lauerman begins by quoting something Paglia wrote about Taylor in Penthouse in 1992:
"She wields the sexual power that feminism cannot explain and has tried to destroy. Through stars like Taylor, we sense the world-disordering impact of legendary women like Delilah, Salome, and Helen of Troy. Feminism has tried to dismiss the femme fatale as a misogynist libel, a hoary cliche. But the femme fatale expresses women's ancient and eternal control of the sexual realm." Paglia takes it from there:
Exactly. At that time, you have to realize, Elizabeth Taylor was still being underestimated as an actress. No one took her seriously -- she would even make jokes about it in public. And when I wrote that piece, Meryl Streep was constantly being touted as the greatest actress who ever lived. I was in total revolt against that and launched this protest because I think that Elizabeth Taylor is actually a greater actress than Meryl Streep, despite Streep's command of a certain kind of technical skill. [...]