Mamma Mia! Here We Go Again
For all its frantic energy, it manages to go absolutely nowhere.
* 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 dispatch from the 2018 Karlovy Vary International Film Festival, featuring coverage of closing night, a conversation with Barry Levinson, and reviews of "Putin's Witnesses," "Museum," "Climax" and "Cold War."
A dispatch from the 2018 Karlovy Vary International Film Festival, covering the opening night ceremony and Olmo Omerzu's "Winter Flies."
A preview of the 53rd Karlovy Vary International Film Festival, running June 29th through July 7th.
A look back at this past week's TCM Classic Film Festival, including the special guests and screenings.
Part I of our round-up featuring filmmaker guests scheduled to attend Ebertfest 2018. We will include the film critics in a separate round-up.
A review of HBO's "Here and Now," starring Tim Robbins and Holly Hunter.
You know, for kids!
Writer/director Michael Almereyda on adapting the sci-fi play "Marjorie Prime" for his latest idiosyncratic project.
Premieres, Midnights, Special Events and more have been announced for next month's Sundance Film Festival.
The latest on Blu-ray and DVD including two Criterion Altman releases, Imperium, Anthropoid, Bad Moms, and more!
A great collection of new Blu-ray releases, including "Green Room," "Night and Fog," "Everybody Wants Some!!" and "OJ: Made in America."
FFC Gerardo Valero returns to "The Shawshank Redemption" to investigate how it remains the #1 film on IMDb.
The latest on Blu-ray, including collector's editions of masterpieces from Robert Altman and Michael Mann.
A review of two new HBO comedies: Ballers and The Brink.
Ben Kenigsberg goes looking for alternative fare at Cannes—and finds Hollywood wannabes.
A preview of dozens of films being released this Summer.
Glenn Kenny comments on awards season, Sean Penn, Neil Patrick Harris, and the actual Oscars.
An FFC shares memories of the Los Angeles Theater scene.
Actors with "A-list" name recognition continue to migrate to television. "True Detective" uses Matthew McConaughey and Woody Harrelson to make great television.
Peter Sobczynski ranks 27 films by Brian De Palma.
Marie writes: The West Coast is currently experiencing a heat wave and I have no air conditioning. That said, and despite it currently being 80F inside my apartment, at least the humidity is low. Although not so low, that I don't have a fan on my desk and big glass of ice tea at the ready. My apartment thankfully faces East and thus enjoys the shade after the sun has crossed the mid-point overhead. And albeit perverse in its irony, it's because it has been so hot lately that I've been in the mood to watch the following film again and which I highly recommend to anyone with taste and a discerning eye.
Marie writes: Intrepid club member Sandy Kahn came upon the following recipe and wisely showed it to me, so that I might share it in turn with all of you. Behold the morning chocolate cookie - a healthy breakfast treat loaded with good stuff; like fiber and imported French chocolate.
"Gnarr" (85 minutes) is now available via most major on-demand platforms including cable, satellite, iTunes and Amazon Instant.
by Jeff Shannon
The United States could sure use a guy like Jon Gnarr right about now. Just take a look at the sorry state of our presidential campaigns and then consider what Gnarr achieved in his native Iceland: In January 2010 Gnarr, Iceland's most popular and controversial comedian, began to campaign for the office of Mayor of Reykjavik, Iceland's capital and largest city. What began as a joke snowballed into a seriously funny, but still very serious, protest vote that turned the tide of history.
Earning coverage in The New York Times, Gnarr's campaign was a referendum on the unchecked corruption, cronyism and incompetence that turned the richest country in Europe into the morally and financially bankrupt victim of a nationwide depression. Gnarr's campaign momentum was made possible by a climate of disgust and frustration with a political system that was broken beyond repair. In the wake of financial disaster on an unprecedented scale, Gnarr rode a wave of backlash against a gridlocked establishment.
As the playful yet firmly grounded documentary "Gnarr" unfolds, Americans can easily view the film as a reflection of our current political climate. Accounting for differences in scale (Iceland's entire population is slightly less than that of Wichita, Kansas), Gnarr's mayoral campaign, and the media circus surrounding it, is strikingly relevant to the political and economic woes of the world's top-ranking superpower. Watching the film, you can't help thinking, "What if...? "
Marie writes: Behold an extraordinary collection of Steampunk characters, engines and vehicles created by Belgian artist Stephane Halleux. Of all the artists currently working in the genre, I think none surpass the sheer quality and detail to be found in his wonderful, whimsical pieces...
Left to right: Little Flying Civil, Beauty Machine, Le Rouleur de Patin(click images to enlarge)
From Jason Haggstrom (haggie), Reel 3:
The opening shot of Robert Altman's "The Player" establishes the film as a self-reflexive deconstruction of the Hollywood system and those who run it. With its prolonged shot length, the take is also designed as a means to introduce the bevy of players who work on the lot and to setup the film's general plot--or at least its tone--as a thriller/murder mystery.
The first image in this extended opening shot is of a film set--a painting of one, to be precise. We hear the sounds of a film crew before a clapper pops into the frame. The (off-screen) director shouts "And... action" informing the audience that the film should be viewed as a construct, a film. The camera tracks back to reveal its location on a Hollywood studio lot where movies are described not in accolades of quality, but of quantity with an oversized sign that reads, "Movies, now more than ever."
The lot is filled with commotion. Writers come and go (some invited, some not) as do executives, pages, and assistants. The political hierarchy is highlighted through dialog and interactions that expose the value system of Hollywood. The most powerful arrive by car; high-end models pervade the mise-en-scène in all of the take's exterior moments. An assistant is made to run (literally, and in high heels) for the mail, and then -- before she even has a chance to catch her breath -- to park an executive's car.