The Last of Robin Hood
A title as good as "The Last of Robin Hood" deserves a better movie. In fact, it deserves a good movie.
* 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 interview with Ira Sachs, director of "Love Is Strange."
RogerEbert.com contributor Godfrey Cheshire's landmark two-part series "Death of Film/Decay of Cinema" anticipated many of the changes that would later shake the medium to its core.
MZS takes a hard-hitting, investigative look at his dad.
The legendary William Friedkin discusses the restoration of his first film, the anti-capital punishment documentary, "The People vs. Paul Crump."
May 2014 Blu-rays of note.
An interview with Alejandro Jodorowsky about his deeply personal The Dance of Reality, working with Peter O'Toole, the healing power of cinema and why Twitter is the literature of the 21st century.
Scout Tafoya's "The Unloved," an appreciation of fascinating movies that were critically reviled on first release, continues with a look at 1994's "The Hudsucker Proxy."
Walter Biggins defends Armond White, the City Arts critic and editor who was recently expelled by the New York Film Critics Circle, as a provocative but necessary voice in movie criticism.
Six recent releases on Blu-ray, including film school standard "Riddles of the Sphinx", a collection of world cinema from Martin Scorsese and "The Way We Were".
Actors with "A-list" name recognition continue to migrate to television. "True Detective" uses Matthew McConaughey and Woody Harrelson to make great television.
A celebration of A Christmas Story; The Wes Anderson Collection's first pan; Abel Ferrara breaks it down for you, pal.
Director Joe Dante talks about his sideline running the Trailers from Hell website, which showcases the much-maligned film preview.
Glenn Kenny highlights the picks of Blu-ray releases for the month of November
Sheila writes: Today, October 30, is the 75th anniversary of the historic 1938 "War of the Worlds" broadcast, presented by Orson Welles and his merry band of Mercury Theater friends. In Peter Bogdanovich's book "This is Orson Welles", Welles tells Bogdanovich: "Six minutes after we’d gone on the air, the switchboards in radio stations right across the country were lighting up like Christmas trees. Houses were emptying, churches were filling up; from Nashville to Minneapolis there was wailing in the street and the rending of garments. Twenty minutes in, and we had a control room full of very bewildered cops. They didn’t know who to arrest or for what, but they did lend a certain tone to the remainder of the broadcast. We began to realize, as we plowed on with the destruction of New Jersey, that the extent of our American lunatic fringe had been underestimated." Bogdanovich later says to Welles, "The Martian broadcast didn’t really hurt you at all. Would you say it was lucky?" Welles replied, "Well, it put me in the movies. Was that lucky? I don’t know." Here is the original radio broadcast in all its mockumentary glory.
Lou Reed dead at 71; more "Blue Is the Warmest" controversies; a survey of Orson Welles biographies; is consensus ruining criticism?; the cultural crater of "12 Years a Slave."
Brian Doan wonders if Mark Cousins' "The Story of Film," showing over 15 weeks on TCM this fall, deserves all the praise it has received.
Video essays on Wes Anderson, including all seven chapters of "The Wes Anderson Collection" and all five chapters of "Wes Anderson: The Substance of Style."
Recent books by Alan Sepinwall and Brett Martin talk about the new “TV revolution,” but looking at the medium’s past is a reminder that revolutions are always cyclical.
Peter Sobczynski ranks 27 films by Brian De Palma.
An Orson Welles film thought to be lost forever is discovered, Karen Black's husband writes movingly about her battle with cancer, a pink planet rocks scientists' theories of planet formation, our very own Ignatiy Vishnevetsky has been keeping busy reviewing for other sites (we're cool with that) and Mark Millar is becoming themost powerful person in comic books.
The racial empathy gap in moviegoing; the struggle to preserve old videotape; how critics view the "bad mothers" in "The Killing"; candidates for the best modern black-and-white films; Questlove reflects on the Trayvon Martin verdict.
Marie writes: Last week, in response to a club member comment re: whatever happened to Ebert Club merchandize (turned out to be too costly to set up) I had promised to share a free toy instead - an amusement, really, offered to MailChimp clients; the mail service used to send out notices. Allow me to introduce you to their mascot...
What happens when actors play themselves? Something funny, and often magical, as this Leigh Singer supercut proves. Text by Matt Zoller Seitz.
Marie writes: I've been watching a lot of old movies lately, dissatisfied in general with the poverty of imagination currently on display at local cinemas. As anyone can blow something up with CGI - it takes no skill whatsoever and imo, is the default mode of every hack working in Hollywood these days. Whereas making a funny political satire in the United States about a Russian submarine running aground on a sandbank near a small island town off the coast of New England in 1966 during the height of the Cold War - and having local townsfolk help them escape in the end via a convoy of small boats, thereby protecting them from US Navy planes until they're safely out to sea? Now that's creative and in a wonderfully subversive way....