Jakubowicz handles these threads with coherence and vigor.
* 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.
“All About My Mother” represents a clear apotheosis in Almodóvar’s career.
A review of three star-studded films from Sundance.
A tribute to the late actor and Ebertfest favorite, Scott Wilson.
On the newest horror film to enter the Criterion Collection and others you should pick up.
A piece on "Beat the Devil," returning to the Film Forum this weekend.
A look at the early days of the career of Brad Anderson in light of the Shout Factory Blu-ray release of "Session 9."
A column on the latest on Blu-ray and DVD, including Criterion editions of Code Unknown & In Cold Blood, The Man From UNCLE, Meru, Ant-Man and more!
A TIFF review of films "The Lady in the Van" and "The Daughter."
An excerpt from the August issue of Bright Wall/Dark Room on "Charade."
Eight things the writer wants you to know about Albert Maysles, the pioneering documentary filmmaker who died last week at age 88.
A 2002 Star-Ledger profile of Albert Maysles, by MZS.
An interview with Bennett Miller, director of "Foxcatcher," "Moneyball" and "Capote."
The Ebertfest screening of Bennett Miller's "Capote" had added resonance due to the passing of Philip Seymour Hoffman and Roger Ebert. Susan Wloszczyna reports.
A complete guide to the 16th Annual Roger Ebert's Film Festival.
Here is the full schedule for Ebertfest 2014.
Remembrances of Philip Seymour Hoffman.
With the passing of Andy Williams, I keep imagining his golden tenor singing Henry Mancini's "Moon River." The song talks about crossing life in style. "Breakfast at Tiffany's" is all about fashionable cafe society and love; in an adult fairy tale, you can have both even if you are two drifters.
The director Gregory Nava once commented, "Whenever any question of style or taste in dress comes up, I simply ask myself, 'What would Fred Astaire have done?'" Audrey Hepburn is Astaire's female equivalent: sophistication mixed with fizzy fun.
For those of us who missed our calling as jet setters, socialites or fashion models along comes the edifying, spritely documentary "Versailles '73: American Runway Revolution" to show us how much work it is to be spontaneously fabulous.
Nearly 40 years ago, in late November of 1973, something rather momentous happened at the Opéra Royal on the grounds of the King's old digs outside Paris. In the course of a fashion show that Women's Wear Daily dubbed "The Battle of Versailles," boldly assertive American runway models -- many of whom were what we now call African-American -- wore sporty, comfortable American designer clothes with such, well, panache that the absolute supremacy of French haute couture was dented for good.
"The Girl" premieres on HBO at 9:00pm (8:00pm Central) on Saturday, Oct. 20. It will also be available on HBO GO.
by Jeff Shannon
October, 1961: A New York fashion model on the verge of Hollywood stardom, 31-year-old Tippi Hedren (Sienna Miller) is invited to a celebratory lunch with legendary film director Alfred Hitchcock (Toby Jones) and his wife Alma (Imelda Staunton), who's also his long-time collaborator. A divorced single mother (of future actress Melanie Griffith, then four years old), Hedren is plucked from obscurity to star in "The Birds," Hitchcock's highly anticipated follow-up to his phenomenally successful 1960 thriller, "Psycho." After Alma sees her in a TV commercial ("I like her smile," she says to "Hitch"), she arranges a meeting. Secretly smitten, Hitchcock directs Hedren's screen test in his own Bel Air home and, shortly thereafter, offers a toast.
"Dear Mr. Spider;I am profoundly sorry to have taken you from your home in the woods, when I was picking Himalayan Blackberries on Monday afternoon. I didn't see you fall into my bucket and which was entirely my fault; I must have bumped into your web while reaching for a berry. Needless to say, I was surprised upon returning home with my bucket full, to suddenly see you there standing on a blackberry and looking up at me." - Marie
(photo recreation of incident)
"Hey, Boo: Harper Lee & To Kill a Mockingbird" (82 minutes) premieres on the PBS series "American Masters" on Monday, April 2nd, at 10 p.m. (check local listings). The film is also available on-demand via Netflix and iTunes.
by Jeff Shannon
To Kill a Mockingbird was published on July 11th, 1960, and Harper Lee's first and only novel has been a publishing phenomenon ever since. Although its first printing by the venerable publishing house of J.B. Lippincott was a mere 5,000 copies, it was an immediate bestseller, and has consistently sold a million copies a year for over 50 years. It was a shoo-in for the Pulitzer Prize, and is frequently cited as the second-most beloved book of all time, after the Holy Bible. Some British librarians went a step further: In a 2006 poll, they ranked Mockingbird at the top, above the Bible, in a list of books "every adult should read before they die." Despite some early objections to its use of racial epithets (specifically the "N-word"), the novel has been required, if sometimes controversial, classroom reading for decades.
With its potent themes of racial injustice, inequality, courage, compassion and lost innocence in the noxiously segregated American South, Lee's novel preceded and fueled the civil rights movement that erupted in its wake. I don't think it's an exaggeration to say that To Kill a Mockingbird is the most influential novel of the 20th century, considered by many to be America's national novel. The equally beloved, Oscar-winning 1962 film version -- famously adapted by Horton Foote and directed by Robert Mulligan -- was immediately embraced as an enduring classic worthy of its source material.
The Ebert Club is pleased to share the following Film Noir cult classic, streaming free. I invite you to join the Club and dive into an eclectic assortment of wonderful and curious finds. Your subscription helps support the Newsletter, the Far-Flung Correspondents and the On-Demanders on my site. - RE"The movie has above all effortless charm. Once we catch on that nothing much is going to happen, we can relax and share the amusement of the actors, who are essentially being asked to share their playfulness. There is a scene on a veranda overlooking the sea, where Bogart and Jones play out their first flirtation, and by the end of their dialogue you can see they're all but cracking up; Bogart grins during the dissolve. The whole movie feels that way. Now that movies have become fearsome engines designed to hammer us with entertainment, it is nice to recall those that simply wanted to be witty company." - Roger, from his Great Movies review of "Beat the Devil".Beat The Devil (1953) Directed by John Huston. Co-written by John Huston and Truman Capote. Loosely based upon a novel of the same name by British journalist and critic Claud Cockburn; pseudonym James Helvick. Starring Humphrey Bogart, Jennifer Jones, Gina Lollobrigida, Peter Lorre, Robert Morley, Edward Underdown, Ivor Barnard, Marco Tulli, Bernard Lee and Saro Urzì.Synopsis: A quartet of international crooks - Peterson, O'Hara, Ross and Ravello - is stranded in Italy while their steamer is being repaired. With them are the Dannreuthers. The six are headed for Africa, presumably to sell vacuum cleaners but actually to buy land supposedly loaded with uranium. They're joined by others who apparently have similar designs. It was intended by Huston as a tongue-in-cheek spoof of his earlier masterpiece, "The Maltese Falcon" and the noir genre in general.
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Marie writes: some of you may recall reading about the Capilano Suspension Bridge in North Vancouver, British Columbia Canada. (Click to enlarge.)
Marie writes: Once upon a time when I was little, I spent an afternoon playing "Winne the Pooh" outside. I took my toys into the backyard and aided by a extraordinary one-of-a-kind custom-built device requiring no batteries (aka: artistic imagination) pretended that I was playing with my pals - Winnie the Pooh and Tigger too - and that there was honey nearby; the bumble bees buzzing in the flowerbeds, only too happy to participate in the illusion. And although it didn't have a door, we too had a tree - very much like the one you see and from which hung a tire. A happy memory that, and which came flooding back upon catching sight of these - the animation backgrounds from the new Winnie the Pooh; thank God I was born when I was. :-)
(click to enlarge images)
Marie writes: In a move which didn't fail to put a subversive smile on my face, works by the mysterious graffiti artist Banksy began to appear recently in Hollywood as Academy Awards voters prepared to judge Exit Through the Gift Shop, which is up for best Documentary. (Click to enlarge.)
The most controversial thus far was painted on a billboard directly opposite the Directors Guild of America HQ on Sunset Boulevard. A poster advertising The Light Group (a property, nightclub and restaurant developer) was stenciled over with images of a cocktail-guzzling Mickey Mouse grasping a woman's breast. As it was being removed, a scuffle broke out between workmen and a man claiming the poster was his "property" - presumably triggered by the fact that an authentic piece by Banksy is worth thousands. To read more visit Banksy targets LA ahead of Oscars at the Guardian. And to see more pictures go HERE.