This is one of the best films of 2015.
* 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.
A NYFF report on new films from Chantal Akerman and Michel Gondry.
Round two in a feature where Matt writes for exactly 30 minutes about a movie and then publishes whatever he's got. This round: Steven Soderbergh's "The Limey."
The movie questionnaire and 2015 reviews of RogerEbert.com film critic Peter Sobczynski.
A piece on the first wave of critics groups awards and some predictions for SAG and the Golden Globe nominees.
A conversation with the Gia Coppola, the young director of Palo Alto.
An oral history of RoboCop; Sid Ceasar passes away; Shia LaBeouf has a new artistic endeavor; Social media sites as the front pages of the Internet; Roeper on Leno.
An exhaustive list of Top 10s by RogerEbert.com contributors.
Erik Childress looks at the first awards of the season and their possible impact on the Oscar race.
Writer Peter Sobczynski responds to our Movie Love Questionnaire.
Susan Wloszczyna wonders if women at the helm might be just the thing to revitalize the foundering, repetitive comic-book movie genre.
Asymmetrical journalism and the Rob Ford crack tape; Sofia Coppola's The Bling Ring presents life as "an endless selfie"; James Lipton was once a pimp, apparently; Egypt solves the problem of how to censor "salacious" content by airing a sitcom with no women in it; Seattle's Egyptian movie theater to close; dumbest beauty pageant contestant answer ever?
I cried yesterday at a retreat while listening to Michael Buble's rendition of "Smile." The tears came from out of nowhere. Music has a way of cutting through all of your defenses. It goes straight to the heart and just zings you. I have been on the go continuously for the last two months since Roger passed. I have been smiling through it all, remaining stoic, having my private moments but standing straight and steadfast. These tears came as a shock to me. But, oh, what a welcome relief.
Sofia Coppola's privilege problem; why "Happy Birthday to You" isn't in the public domain; surveillance in America, and in the movies; five dictators who despise social media.
Marie writes: Now this is really neat. It made TIME's top 25 best blogs for 2012 and with good reason. Behold artist and photographer Gustaf Mantel's Tumblr blog "If we don't, remember me" - a collection of animated GIFs based on classic films. Only part of the image moves and in a single loop; they're sometimes called cinemagraphs. The results can be surprisingly moving. They also can't be embedded so you have to watch them on his blog. I already picked my favorite. :-)
Barbara Scharres has a few choice words for François Ozon's "Young & Beautiful" and Sofia Coppola's "The Bling Ring," but finds a gem in Ryan Coogler's "Fruitvale Station."
Michał Oleszczyk catches up with two takes on troubled youth: François Ozon's "Young & Beautiful" and Sofia Coppola's "The Bling Ring."
Barbara Scharres sets the stage the 66th annual Cannes Film Festival.
Streaming on Netflix Instant
Sumptuous light, favorably bathed across richly-drawn characters and their worlds, have long been signifiers of a Patrice Leconte film, yet while such environments exist in the auteur's 1996 comedy-drama, "Ridicule," the words produced within them hold much more prominence.
Marie writes: Not everything is what is seems...(Click images to enlarge.)
"The Moth Diaries" is now available via IFC On Demand, Sundance Now, iTunes and other outlets. It opens in theaters April 20th.
A secret co-star of "The Moth Diaries" is cinematographer Declan Quinn. He brings to this tale of supernatural incidents at a girl's boarding school a palette of navy, teal and black to match the school uniforms, and pale flesh tones out of Vermeer. No great innovation there, but quite striking in the service of the story. Director Mary Harron makes sure these images don't overwhelm the drama by casting young ladies with powerful presences.
Model-actress Lily Cole's broad face and wide set eyes are terrifyingly beautiful, or maybe just terrifying. Either way, her turn as Ernessa, the mysterious new girl on campus, gives the "The Moth Diaries" a more solid reason for being than its familiar, "Twilight"-tinged plot. She's a head taller than the rest of the girls, striking an improbable balance between willowy and robust. Her famously red hair is dyed a deep brown (or covered in a masterfully applied wig), providing a stark frame for that porcelain doll face. In one scene, without the aid of special effects, her fleshy yet spindly arms seem to stretch out of proportion, like some Tim Burton creation. (It's easy to imagine Burton tripping over himself to add her to his gallery of living 19th century humanoids, alongside Lisa Marie, Christina Ricci and Helena Bonham-Carter.) The mystery: Is Ernessa some kind of vampire, witch, ghost or... what?
This is the last of my lists of the best films of 2010, and the hardest to name. Call it the Best Art Films. I can't precisely define an Art Film, but I knew I was seeing one when I saw these. I could also call them Adult Films, if that term hadn't been devalued by the porn industry. These are films based on the close observation of behavior. They are not mechanical constructions of infinitesimal thrills. They depend on intelligence and empathy to be appreciated.
They also require acting of a precision not necessary in many mass entertainments. They require directors with a clear idea of complex purposes. They require subtleties of lighting and sound that create a self-contained world. Most of all, they require sympathy. The directors care for their characters, and ask us to see them as individuals, not genre emblems. That requires us to see ourselves as individual viewers, not "audience members." That can be an intimate experience. I found it in these titles, which for one reason or another weren't on my earlier lists. Maybe next year I'll just come up with one alphabetical list of all the year's best films, and call it "The Best Films of 2011, A to Z."
An old friend and I reunited for the first time in 13 years in Washington, DC last month, and the talk eventually turned to Facebook, the primary way we've managed to keep in touch, at least recently. I have a particular trait, usually reserved for after a night out on the town, by which friends can easily identify the level of my joviality, when I post videos of classic rock songs. Despite my assertion that a certain amount of fastidiousness should be necessary when it comes to sharing links on Facebook, I tend to disregard my own advice and post widely popular songs by legendary bands, for which I apologized to my friend.
David Fincher's "The Social Network"is emerging as the consensus choice as best film of 2010. Most of the critics' groups have sanctified it, and after its initial impact it has only grown it stature. I think it is an early observer of a trend in our society, where we have learned new ways of thinking of ourselves: As members of a demographic group, as part of a database, as figures in...a social network.
There was a moment in "Winter's Bone" when I felt sheer horror triggering my heart to thump in loud heavy beats. A moment more haunting and terrifying than anything I've seen all year. Not since the gas station scene in "No Country for Old Men" and the French vanilla ice-cream desert in "Inglourious Basterds" have I held my breath for so long. It is what I like to call a pulse-raiser scene, one of those moments when you really want to look away but you simply can't because you care too much for the victim.