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 look ahead at the 112 films that will play the Sundance Film Festival in January 2019.
There's a moment when you get lost in a memory so intense that when you emerge, you aren't sure if you've been spacing out for a second or a minute. That's where Nicolas Roeg's cinema lived.
A history of Gary Oldman's performances.
A guide to the latest and greatest on Blu-ray and DVD, including three Criterion releases, The Wall, and Guardians of the Galaxy, Vol. 2.
A SXSW dispatch on three timely films from young, talented directors.
FFC Gerardo Valero discusses the devolution of Quentin Tarantino by comparing The Hateful Eight to Pulp Fiction.
An interview with Richard Dreyfuss in celebration of the 25th anniversary of "Rosencrantz & Guildenstern Are Dead."
The writers of RogerEbert.com on some of our favorite performances of 2015.
A report from the 2015 Los Cabos International Film Festival.
A CIFF dispatch on two films starring Tim Roth.
An introduction to coverage of the 2015 AFI Docs Film Festival.
Our latest video from Cannes includes coverage of some of this year's biggest films, along with press conference footage from Macbeth and footage from the empathy panel led by Chaz Ebert.
Jacques Audiard's "Dheepan" took the Palme d'Or at the 68th Cannes Film Festival.
A report on two more Cannes films, "Chronic" and "Masaan".
A piece on the latest and greatest Netflix, On Demand, and Blu-ray releases including "The Immigrant", "Interstellar", "A Most Violent Year", and more!
The ten best films of 2014, as chosen by the film critics of RogerEbert.com.
Ray Harryhausen's creature drawings; How hollywood killed death; Live-coverage of Hateful Eight reading; Masterful noir films; A short movie.
Marie writes: Now this is really neat. It made TIME's top 25 best blogs for 2012 and with good reason. Behold artist and photographer Gustaf Mantel's Tumblr blog "If we don't, remember me" - a collection of animated GIFs based on classic films. Only part of the image moves and in a single loop; they're sometimes called cinemagraphs. The results can be surprisingly moving. They also can't be embedded so you have to watch them on his blog. I already picked my favorite. :-)
Marie writes: The late John Alton is widely regarded as being one of greatest film noir cinematographers to have ever worked in Film. He perfected many of the stylized camera and lighting techniques of the genre, including radical camera angles, wide-angle lenses, deep focus compositions, the baroque use of low-level cameras and a sharp depth of field. His groundbreaking work with director Anthony Mann on films such "TMen" and "Raw Deal" and "He Walked by Night" is considered a benchmark in the genre, with "The Big Combo" directed by Joseph H. Lewis, considered his masterpiece. John Alton also gained fame as the author of the seminal work on cinematography: "Painting with Light".
The Big Combo (1955) [click to enlarge]
Marie writes: And so it begins! A new year and another season of Film Festivals and Award shows. The Golden Globes have come and gone and in advance of quirky SXSW, there's Robert Redford's Sundance 2013...
Marie writes: When I first learned of "Royal de Luxe" I let out a squeal of pure delight and immediately began building giant puppets inside my head, trying to imagine how it would look to see a whale or dragon moving down the street..."Based in Nantes, France, the street theatre company Royal de Luxe performs around the world, primarily using gigantic, elaborate marionettes to tell stories that take place over several days and wind through entire cities. Puppeteers maneuver the huge marionettes - some as tall as 12 meters (40 ft) - through streets, parks, and waterways, performing their story along the way." - the Atlantic
(Click images to enlarge.)
The 65th Cannes Film Festival's eleven days of prediction, wild speculation and gossip, some of it centering on the notoriously cranky personality of this year's jury president Nanni Moretti, came to an end Sunday evening in festival's business-like awards ceremony (or Soiree de Palmares, as the French call it) that traditionally lacks the extended let's-put-on-a-show aspect of the Oscars. The jury was seated onstage in a solemn group, and the awards given with a modest amount of fancy-dress formality, a bit of unrehearsed fumbling, and acceptance speeches that were short, dignified and to the point.
The foul weather that has marred the usually sunny festival continued to the end, and elite guests and movie stars alike walked a red carpet tented by a plastic roof as the rain fell on the multi-colored umbrellas of the surrounding crowds. Festival director Thierry Fremoux personally held an umbrella for Audrey Tautou, star of Claude Miller's closing night film, "Therese Desqueyroux," as she headed up the famous steps in a calf-length ivory lace gown with a bodice heavily embroidered in gold.
Actress Berenice Bejo, an international sensation since her starring role and subsequent Oscar nomination for "The Artist," performed mistress of ceremonies duties in a white, bridal-looking strapless sheath with long train, her only jewel an enormous heart-shaped emerald ring. Just about the only prediction this year that turned out to be accurate was the one that advised that all was unpredictable under the jurisdiction of the pensive and often-scowling Moretti.
Marie writes: many simply know her as the girl with the black helmet. Mary Louise Brooks (1906 - 1985), aka Louise Brooks, an American dancer, model, showgirl and silent film actress famous for her bobbed haircut and sex appeal. To cinefiles, she's best remembered for her three starring roles in Pandora's Box (1929) and Diary of a Lost Girl (1929) directed by G. W. Pabst, and Prix de Beauté (1930) by Augusto Genina. She starred in 17 silent films (many lost) and later authored a memoir, Lulu in Hollywood."She regards us from the screen as if the screen were not there; she casts away the artifice of film and invites us to play with her." - Roger, from his review of the silent classic Pandor's Box.