Mickey and the Bear
An elegantly wrought drama about a father and daughter.
* 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.
The latest on Blu-ray and streaming, including The Lion King, Stuber, The Art of Self-Defense, and special editions of Ringu, An American Werewolf in London, and When We Were Kings.
Chaz Ebert interviews Robert Shaye, founder of New Line Cinema and Unique Features about directing his third film, "Ambition."
A preview of this weekend's Japan Cuts festival in New York City.
Over two dozen underrated horror movies for your Halloween marathon planning.
The latest on Blu-ray and DVD, including Wonder, Only the Brave, Roman J. Israel, The Ballad of Lefty Brown, and Walking Out.
Brian Doan enters the Twilight Zone.
A tribute to the legendary director Tobe Hooper.
An in-depth look at an ambitious retrospective at NYC's Film Society of Lincoln Center that celebrates one of cinema's greatest years.
The writers of RogerEbert.com celebrate the career and legacy of the late George Romero.
An interview with the director of "Score: A Film Music Documentary" and one of its subjects.
A bunch of 2016 Oscar nominees and must-own Criterion releases just hit Blu-ray. Pick your favorite!
The latest and greatest on Blu-ray, DVD and streaming, including "Spotlight," "The Danish Girl," and "The Graduate."
The latest Unloved looks at Mexican cinema, particularly The Mansion of Madness by Juan Lopez Moctezuma.
This month's short film, "Air Conditions," and an interview with its director.
Our monthly series digs into the career of Wes Craven and comes out with his 3D 2010 film, "My Soul to Take".
Sheila writes: Neurologist and author Oliver Sacks died on August 30 at the age of 82. The obituary in the New York Times gives an overview of this man's extraordinary career and contributions. The site Open Culture has a small post about Oliver Sacks' final Tweet which was a link to a video of a flash mob orchestra gathering to play Beethoven's "Ode to Joy" in a large public square. Sacks' Tweet read: "A beautiful way to perform one of the world's great musical treasures." His curiosity and appreciation of life in all its variety remained intact until the very end. Here is the video of that flash mob which is, indeed, "beautiful."
A video tribute to Wes Craven.
Aging heroes won't give up the gun; Why sex scenes for over-60s are taboo; Trump's resemblance to Citizen Kane; Last films of Fritz Lang; RIP Wes Craven.
An obituary for Wes Craven.
The latest and greatest on Netflix, On Demand and Blu-ray/DVD, including "Insurgent," "The Water Diviner," "The People Under the Stairs" and "Night and the City".
MTV's Scream and CBS's Zoo premiere tonight. One is worth your time. Which one?
Jim Hemphill on "The Trouble with the Truth"; 1980s Atlanta as a backdrop of the future; How to make Blu-rays relevant again; Recreating Klimt; In defense of Trevor Noah.
A history and appreciation of The Texas Chainsaw Massacre on the eve of the re-release of a 4k restored version for its 40th anniversary.
Peet at NegativeSpace knows it when he sees it.
In the 1957 case Roth v. United States, the US Supreme Court held that the First Amendment did not protect obscenity, which Justice William Brennan characterized as a form of expression that was "utterly without redeeming social importance..." and which "... to the average person, applying contemporary community standards, the dominant theme of the material, taken as a whole, appeals to prurient interest."
In Jacobeliis v. Ohio (1964), Justice Potter Stewart wrote his famous description of pornography: I shall not today attempt further to define the kinds of material I understand to be embraced within that shorthand description; and perhaps I could never succeed in intelligibly doing so. But I know it when I see it, and the motion picture involved in this case [Louis Malle's 1958 "The Lovers"/"Les Amants"] is not that.Nine years later, in Miller v. California, Chief Justice Warren Burger offered his famous definition of obscenity:The basic guidelines for the trier of fact must be: (a) whether "the average person, applying contemporary community standards" would find that the work, taken as a whole, appeals to the prurient interest, (b) whether the work depicts or describes, in a patently offensive way, sexual conduct specifically defined by the applicable state law; and (c) whether the work, taken as a whole, lacks serious literary, artistic, political, or scientific value.Today, of course, porn is made for the World Wide Interwebs, and so-called "torture porn" is mainstream multiplex fare. In a post called "The 120 Days of HOSTEL PART II" at The Exploding Kinetoscope, Chris Stangl argues that the phrase "torture porn" is simply a meaningless critical buzzword, "a non-position that allows a critic not to engage the work. It's critical name-calling." Stengl writes: "Any review, op-ed piece, or coverage of 'Hostel Part II' that includes the phrase 'torture porn' as if it were a meaningful genre designation, I will not finish reading. A line must be drawn. We all have our limits." (Thanks to The House for calling my attention to Stangl's site.)
I was about to disagree with this (after all, I happen to know torture porn when I see it!) -- but then...