A rough and unsparing film.
* 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.
An article about the reissue of "Two Weeks in the Midday Sun."
Glenn Kenny on new films from Ana Lily Amirpour and Andrew Dominik.
An interview with director Joe Dante about "The Movie Orgy" and his film series currently running at BAMcinématek.
Decline of middle-class films; Hunter S. Thompson's son speaks out; Tarantino's inner movie nerd must be stopped; Rob Schenck on guns and religion; Jean-Pierre Léaud on "The 400 Blows."
A review of two good new shows: Hulu's "Casual" and Amazon's "Red Oaks".
Debut of a new feature wherein Matt writes for exactly 30 minutes about a movie and then publishes whatever he's got. First up: John Woo's "The Killer."
An overview of the Mad Max movies as we head toward Fury Road.
A remembrance of Richard Corliss by Richard T. Jameson, who wrote for Film Comment under Corliss, then later was his editor.
This month's Unloved looks at two films deemed disasters: Michael Cimino's "Heaven's Gate" and Gore Verbinski's "The Lone Ranger"
An excerpt from Adrian's Martin's Mise en scène and Film Style: From Classical Hollywood to New Media Art.
A recap and guide to the most interesting Blu-rays of 2014.
A holiday gift guide compiling RogerEbert.com's reviews of Blu-ray/DVD releases and boxed sets and a few more books from 2014.
Interviews with Tilda Swinton, Julianne Moore, F. Murray Abraham and others at the 2014 Gotham Independent Film Awards.
What do the Quentin Tarantino and Interstellar stories say about the growing divisions between celluloid lovers and digital projection?
Catching up with Treat Williams and William Forsythe on the NYFF screening of and Blu-ray release of "Once Upon a Time in America."
An obituary for actor Eli Wallach.
May 2014 Blu-rays of note.
A survey of selected films available now on Blu-ray.
Triceratops never existed; Coppola and DePalma betwixt passions; 8 books every educated person should read; the Syrian rebel problem; The Last Temptation of Christ revisited; Herzog + Morris.
Sheila writes: The glamorous days of air travel were already on their way out by the time I first stepped foot on an airplane (Aer Lingus, 1980) so I have always been fascinated by glimpses of what traveling by plane used to be like: the linens, the cocktail glasses, the curtains, the elegance! I came across a piece about a man, Anthony Toth, who had such a sense of nostalgia for those bygone days that he built a partial replica of a Pan Am 747 in a warehouse in Redondo Beach, where he lives. At first, the replica was in his garage, but then he realized he needed to build an upper level, so he moved the entire thing to a warehouse, where it still sits today. The local press picked up on the story, and it created such interest that you can now visit and have dinner, Pan Am style.
Quentin Tarantino has found his actor in Christoph Waltz -- someone who can speak Tarantinian fluently and still make it his own. When Waltz uses a self-consciously ostentatious word like "ascertain" (as in, "I was simply trying to ascertain..." -- the kind of verbiage QT is as likely to put in the mouth of a lowlife crook as a German dentist, or a Francophile plantation slavemaster, for that matter), it sounds right. As someone to whom Tarantino's dialog often sounds cliche-ridden and cutesy, it's a pleasure to hear Waltz saying the words in character rather than simply as a mouthpiece for the writer-director.
Oh, stop. This isn't sounding the way I want it to.
Oh my. Here we go again with all the deathiness. Movie criticism keeps dying deader and deader. Film itself has keeled over and given up the ghost. Cinema ist kaput, and at the end of last month "movie culture" was pronounced almost as deceased as John Cleese's parrot. Ex-parrot, I mean. Then the movie "Looper" came out, posing questions like: "What if you could go back in time? Would you kill cinema?" Or something like that.
People, this dying has gotta stop.
OK, this is where it really gets interesting. Forget the consensus Top 50 Greatest Movies of All Time; let's get personal. Sight & Sound has now published the top 250 titles in its 2012 international critics poll, the full list of more than 2,000 movies mentioned, and all the individual lists of the 845 participating critics, academics, archivists and programmers, along with any accompanying remarks they submitted. I find this to be the most captivating aspect of the survey, because it reminds us of so many terrific movies we may have forgotten about, or never even heard of. If you want to seek out surprising, rewarding movies, this is a terrific place to start looking. For the past few days I've been taking various slices at the "data" trying to find statistical patterns, and to glean from the wealth of titles some treasures I'd like to heartily recommend -- and either re-watch or catch up with myself.
I know we're supposed to consider the S&S poll a feature film "canon" -- a historically influential decennial event since 1952, but just one of many. I don't disagree with Greg Ferrara at TCM's Movie Morlocks ("Ranking the Greats: Please Make it Stop") when he says that limiting ballots to ten all-time "best" (or "favorite," "significant," "influential" titles is incredibly limiting. That's why I think perusing at the critics' personal lists, the Top 250 (cited by seven critics or more) and the full list of 2,045 films mentioned is more enjoyable pastime.
It's wise to remember that, although the top of the poll may at first glance look relatively conservative or traditional, there's a tremendous diversity in the individual lists. Even the top vote-getter, "Vertigo," was chosen by less than one quarter of the participants.
Like all of us, I'm living under a death sentence. Not to sound alarmist, but to quote Woody Allen in "Love and Death": "Isn't all mankind ultimately executed for a crime it never committed? The difference is that all men go eventually, but I go six o'clock tomorrow morning." Looking on the bright side of death, I think in some ways it must be nice to have such certainty. But we live in perpetual uncertainty and doubt (see "No Country for Old Men"). My own awareness of the prospect of my demise ranges between roughly five years and five seconds, according to fluctuations in the health of my heart. I've gotten close enough to peer over the threshold (and in one case, lost my grip and fell into the void for, I'm told, about 10 or 15 minutes). My point is, I don't see death as an abstraction but a... vividly imminent possibility, depending on the situation.
(Neuroscientists say it may take the human brain 20-30 years or of development to really begin to fathom the concept anyway -- to some extent we tend to feel, and behave, as if we are immortal before that. I think my brain "knew" somewhat earlier.)
My adventures in mortality are absolutely nothing, however, compared to what some of my friends and acquaintances have been through. People have asked me if my near-death (temporary-death?) experience in 2000 gave me a new perspective on life and I have to say... no. I've been preoccupied with death ever since I was old enough to have a rudimentary understanding of what that was. It used to make me a little dizzy thinking about an infinity of nonexistence, like the one I didn't experience before I was born, but I don't find anything disturbing or frightening about that. Hey, it happens to everybody. Dying is easy; living is hard.*
UPDATED (08/01/12): Scroll to the bottom of this entry to see my first impressions of the newly announced critics' and directors' poll results.
Vittorio De Sica's "Bicycle Thieves" (1948) topped the first Sight & Sound critics' poll in 1952, only four years after it was first released, dropped to #7 in 1962, and then disappeared from the top ten never to be seen again. (In 2002 only five of the 145 participating critics voted for it.) Orson Welles' "Citizen Kane" (1941) flopped in its initial release but was rediscovered in the 1950s after RKO licensed its films to television in 1956. From 1962 to 2002 "Kane" has remained at the top of the poll (46 critics voted for it last time). This year, a whopping 846 top-ten ballots (mentioning 2,045 different titles) were counted, solicited from international "critics, programmers, academics, distributors, writers and other cinephiles" -- including bloggers and other online-only writers. Sight & Sound has announced it will live-tweet the 2012 "Top 50 Greatest Films of All Time" (@SightSoundmag #sightsoundpoll) August 1, and as I write this the night before, I of course don't know the results. But, for now at least, I'm more interested in the process.
Given the much wider and younger selection of voters in 2012, ist-watchers have been speculating: Will another movie (leading candidate: Alfred Hitchcock's "Vertigo," number 2 in 2002) supplant "Kane" at the top of the list? Will there be any silent films in the top 10? (Eisenstein's "Battleship Potemkin" and Murnau's "Sunrise" tied for #7 on the 2002 list, but the latter was released in 1927 with a Fox Movietone sound-on-film musical score and sound effects.)
Though there's been no rule about how much time should pass between a film's initial release and its eligibility (the Library of Congress's National Film Registry requires that selections be at least ten years old), most of the selections ten to have stood the test of time for at least a decade or two. The newest film on the 2002 list was the combination of "The Godfather" (1972) and "The Godfather, Part II" (1974) -- but they won't be allowed to count as one title for 2012.