Jexi
Although the title is confounding and perhaps the movie’s worst misstep, it’s Byrne’s digitized and stilted delivery that earns the biggest laughs.
Thelma Schoonmaker
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The Irishman (2019)
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Editor
Matt Zoller Seitz -
The Snowman (2017)
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Editor
Glenn Kenny -
Silence (2016)
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Editor
Matt Zoller Seitz -
New York Stories (1989)
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Edited by
Roger Ebert -
The Color of Money (1986)
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Edited by
Roger Ebert
* 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.
Criterion Collection Celebrates Powell & Pressburger's A Matter of Life and Death
A look back at the 1946 Powell & Pressburger film, which has now received a special 4K restoration from the Criterion Collection.
The First Cut is the Deepest: A Tribute to Anne V. Coates
A tribute to the legendary editor Anne V. Coates.
No Home Video: On Women-Directed Films
A reposting of Tina Hassannia's article from Movie Mezzanine, and the response it received from Peter Becker, president of the Criterion Collection.
Of Rats and Men: “Black Mass” vs. “The Departed”
A comparison of Frank Costello in The Departed and Whitey Bulger in Black Mass reveals weaknesses in the latter.
A Trip Through Film History with Norman Lloyd
An in-depth look at the extraordinary film career of 100-year-old actor Norman Lloyd, currently starring in Judd Apatow's "Trainwreck."
From "Tales of Hoffmann" to "Taxi Driver": An Interview with Thelma Schoonmaker
An interview with the legendary Thelma Schoonmaker.
Sundance 2015 Interview: Alfonso Gomez-Rejon of "Me and Earl and the Dying Girl"
An interview with Alfonso Gomez-Rejon, director of the Grand Jury Prize-winning "Me and Earl and the Dying Girl."
Thumbnails 5/30/2014
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.
Thumbnails 4/3/14
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.
#213 April 2, 2014
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!
Complete list of Academy Award nominations
BEVERLY HILLS, Calif. (AP) — Complete list of 84th Annual Academy Award nominations announced Tuesday:
Cutting the Basterds
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.'"
Leonardo DiCaprio: 'I like characters who aren't always what they seem'
"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.
Scorsese by Ebert: Introduction
From Ebert's new book, now on sale.
The Marty Show
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 Marty Show
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.
List of Academy Award winners
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.
'Baby' stages late-round Oscar rally
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).
Who will take home Oscar?
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.
'Aviator' leads Oscar nominations
"The Aviator" leads with 11 nominations. Jamie Foxx was nominated in two categories. A little film named "Sideways" won five nominations, but one of them was not for its star, Paul Giamatti. "Finding Neverland" was the dark horse, in a tie with "Million Dollar Baby" with seven nominations apiece.
'Gangs' all here for Scorsese
NEW YORK--In 1977, right after he made "Taxi Driver," Martin Scorsese took out a two-page ad in Variety to announce his next production: "The Gangs Of New York."
Movie Answer Man (12/13/1998)
Q. The great Sir Alfred Hitchcock was a busy worker right up until his death, and was working on a film when he died. From what I've heard, the screenplay and carefully-drawn story boards were finished. My question is, why hasn't anyone opted to make THIS film? Wouldn't this have been a better idea for Gus Van Sant than a remake of Hitch's best-known work? (Jeff VanDreason, Syracuse, NY)
Scorsese learns from those who went before him
NEW YORK--There is no greater American filmmaker right now than Martin Scorsese, and hasn't been for some time, perhaps since Welles and Hitchcock and Ford died, and yet to talk with him is like meeting this guy who hangs out all the time at the film society.
