I Feel Pretty
It’s an unbridled display of enthusiasm. We’re laughing with her, not at her. If only the rest of the film had such complete confidence.
Matt Zoller Seitz is the Editor-in-Chief of RogerEbert.com. He is also the TV critic for New York Magazine and Vulture.com, and a finalist for the Pulitzer Prize in criticism. His writing on film and television has appeared in The New York Times, Salon.com, The New Republic and Sight and Sound. Seitz is the founder and original editor of the influential film blog The House Next Door, now a part of Slant Magazine, and the co-founder and original editor of Press Play, an IndieWire blog of film and TV criticism and video essays.
A Brooklyn-based writer and filmmaker, Seitz has written, narrated, edited or produced over a hundred hours’ worth of video essays about cinema history and style for The Museum of the Moving Image, Salon.com and Vulture, among other outlets. His five-part 2009 video essay Wes Anderson: The Substance of Style was spun off into the hardcover book The Wes Anderson Collection. This book and its follow-up, The Wes Anderson Collection: Grand Budapest Hotel were New York Times bestsellers.
Other Seitz books include Mad Men Carousel: The Complete Critical Companion, The Oliver Stone Experience, and TV (The Book). He is currently working on a novel, a children's film, and a book about the history of horror, co-authored with RogerEbert.com contributor Simon Abrams.
Grateful for a scrap of melody.
None of them are getting out of there alive.
Still grimly funny and bracingly nasty after nearly fifty years, this is a world-weary anti-authority comedy fronted by Lee Marvin's knife-blade face.
Matt Zoller Seitz celebrates "Beyond the Valley of the Dolls," now available on Criterion Blu-ray and DVD.
Director James Ivory talks about his film adaptation of E.M. Forster's classic novel.
"It's a madhouse!"
This movie is trying to kill these women, but they endure.
An interview with actress Gena Rowlands on the occasion of a John Cassavetes/Rowlands retrospective at NYC's Metrograph.
Depressing and fun. Not a combination you encounter every day.
John Carpenter's 80s SF film may have outdated technology and outdated hair, but it hasn't aged a day.