MZS
Stirring the Pot: Glenn Kenny on His New Goodfellas Book
RogerEbert.com contributor Glenn Kenny talks with editor-at-large Matt Zoller Seitz about Made Men, Kenny's book-length account of the making of Martin Scorsese's Goodfellas.
RogerEbert.com contributor Glenn Kenny talks with editor-at-large Matt Zoller Seitz about Made Men, Kenny's book-length account of the making of Martin Scorsese's Goodfellas.
An excerpt from Glenn Kenny's book about the making of Martin Scorsese's Goodfellas, now available.
A piece on Robert De Niro, Harvey Keitel, and Joe Pesci, and what they've meant to the career of Martin Scorsese.
A look back at the 1946 Powell & Pressburger film, which has now received a special 4K restoration from the Criterion Collection.
A reposting of Tina Hassannia's article from Movie Mezzanine, and the response it received from Peter Becker, president of the Criterion Collection.
A comparison of Frank Costello in The Departed and Whitey Bulger in Black Mass reveals weaknesses in the latter.
An in-depth look at the extraordinary film career of 100-year-old actor Norman Lloyd, currently starring in Judd Apatow's "Trainwreck."
Misogyny, entitlement and nerds; Steve Coogan vs. "Top Gear"; Why you can't see "Porgy and Bess"; Robert De Niro remembers his father; Why attacks on Douglas Laycock are bad for academia.
Two visions of Metropolis; Movies with women in main roles make more money; Domestic violence in The Long Goodbye; An interview with Thelma Schoonmaker; Dissecting male violence and beginning a conversation that needs to be had.
Sheila writes: Filmmaker IQ has put together a fascinating "15 minute history of the movie trailer", which takes us through the earliest trailers from the beginnings of show business up until the present day. It's so well done! Enjoy!
BEVERLY HILLS, Calif. (AP) — Complete list of 84th Annual Academy Award nominations announced Tuesday:
After the devastating news of Sally Menke's death last week, I read some moving and heartfelt tributes to her... and yet, some of them didn't seem to understand what an editor actually does, or what made Menke's work in particular so remarkable.
I suppose just about anybody could string together a rough assembly of a movie. All you have to do is follow the script and put things in the right order, as Sir Edwin, the great Shakespearean actor played by John Cleese, said of words in a play: "Old Peter Hall used to say to me, 'They're all there Eddie, now we've got to get them in the right order.'"
"Shutter Island," which opens Friday, is the fourth film Leonardo DiCaprio and Martin Scorsese have made together, and the most unexpected. It's not a biopic ("The Aviator") or a modern gangster movie ("The Departed") or a historical gangster movie ("Gangs of New York"). It securely occupies that most American of genres, the film noir -- the dark film, the film that takes place in the shadows of human nature.
Martin Scorsese has an Oscar in his hand. It's his Oscar.
For the first time in 30+ years, Roger Ebert watched the Oscars from home instead of from backstage. He writes about the experience here.
Meanwhile, I spent my Oscar night writing a deadline piece for the Chicago Sun-Times, which had to be filed about 45 minutes before the show was over. Here's the (unedited) final version for the web: The cops-and-mobsters thriller "The Departed," which director Martin Scorsese described as the first movie he's ever done with a plot, took the jackpot prize at the Academy Awards last night. For Scorsese, this was supposed to be a genre picture, not Oscar-bait like "The Aviator" and "Gangs of New York," but it turns out that, even at the Oscars, sometimes you can come out ahead when you don't look like you're trying so hard.
Even though there were several "surprises" during the ceremonies, it still felt kind of like the Acada-"meh" Awards. Since none of the Best Picture nominees inspired much passion (don't expect a "Crash"-lash" this year), and none stood out as a Timeless Achievement in Cinema, one winner was pretty much as good as another. And so, the Academy decided to spread the statuettes around.
Of course, the evening's big disappointment was that Martin Scorsese did not join his fellow great directors -- Howard Hawks, Alfred Hitchcock, Orson Welles, Stanley Kubrick, Ernst Lubitsch, Fritz Lang -- who never won an Oscar in competition. Instead, he joins Norman Taurog, John G. Avildson and Sam Mendes as one of the immortals whose name will always, from this moment on, be preceded by the term "Academy Award-winning" as if it were a prefix. (I kid.)
Now, future generations can look back at Oscar history and say... "What!?!? The director of "Taxi Driver," "Raging Bull," "King of Comedy" and "GoodFellas" won an Oscar for "The Departed"?!? Wasn't that the inferior American remake of "Infernal Affairs"?" Well, look at it this way: John Ford, famous for great American Westerns like "Stagecoach," "My Darling Clementine," "She Wore a Yellow Ribbon," "The Searchers" and "The Man Who Shot Liberty Valance," won four Oscars for direction, and not one of them was for a Western. Rest of story at RogerEbert.com
The cops-and-mobsters thriller "The Departed," which director Martin Scorsese described as the first movie he's ever done with a plot, took the jackpot prize at the Academy Awards last night. For Scorsese, this was supposed to be a genre picture, not Oscar-bait like "The Aviator" and "Gangs of New York," but it turns out that, even at the Oscars, sometimes you can come out ahead when you don't look like you're trying so hard.
Clint Eastwood received the best-director Academy Award on Sunday for the boxing saga "Million Dollar Baby." The film also took home the best picture Oscar.
HOLLYWOOD - "Million Dollar Baby" scored a late-round rally Sunday night at the 77th annual Academy Awards as Clint Eastwood's movie about a determined female boxer won for best picture and took Oscars for actress (Hilary Swank), supporting actor (Morgan Freeman) and director (Eastwood).
Last year was the Year of the Hobbit at the Academy Awards. This year the academy will move away from the land of blockbusters and honor a film whose budget was less than the cost of the opening week's ads for just one-third of the "Rings" trilogy. Clint Eastwood's "Million Dollar Baby," which seemed to appear out of nowhere in mid-December, which had no pre-release publicity, which played no festivals and was screened for no focus groups, will win the Oscar as best picture.
