Great Movies
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The Brat Pack Movies, Ranked
In honor of the new documentary Brats, we look back at the 1980s actors’ finest onscreen moments—and the films that found them way out of their depth.
In honor of the new documentary Brats, we look back at the 1980s actors’ finest onscreen moments—and the films that found them way out of their depth.
An interview with legendary Chicago filmmaker Andrew Davis about the making of The Fugitive, his directorial debut Stony Island, and going to college with Roger.
A great movie star and versatile actor, the once and future Bond was also an icon of primordial masculinity, for better and worse.
A tribute to the late director, Stuart Gordon.
The latest on Blu-ray and DVD, including Apollo 11, Cold Pursuit, Fighting with My Family, and Let the Sunshine In.
The latest on Blu-ray and DVD, including Creed II, The Favourite, Green Book, Burning, The Guilty, and more!
John McNaughton talks about the making of his underrated 1993 film, Mad Dog and Glory, on the occasion of a special edition Blu-ray release from Kino Lorber.
A collection of all our tributes this past year to the unforgettable talent we lost.
A tribute to the late magician and character actor, Ricky Jay.
On four films from the Midnight Madness program at TIFF, including new works from Gaspar Noe and Peter Strickland.
Sheila writes: Todd Sanders is a self-taught neon sign artist. Roadhouse Relics, the gallery of his work in Austin, Texas, is filled with his beautiful vintage-inspired signs. His designs are all hand-drawn. He collects old magazines from the 1920s, 1930s, etc., to get inspiration for his neon signs. He does custom signs as well. You can check out Sanders' work, bio, and press kit at Roadhouse Relics. Neon brings up all kinds of automatic images and associations: seedy hotels, burlesque joints, cocktail bars. His signs evoke those images, but much more. For instance, look at his beautiful "Fireflies In a Mason Jar".
Mamet's screenwriting career, the hours after John F. Kennedy's assassination in detail, why creatives are good for the economy, how Facebook keeps you from quitting, the political economy of zombies.
Peter Sobczynski ranks 27 films by Brian De Palma.
Marie writes: As you know, I tend to avoid filling the Newsletter with cute animal photos - but that's only because a little goes a long way and it's easy to overdose. Indeed; many an otherwise healthy mind has been wiped clean of any trace of dark humor after staring too long at puppies and kittens. That said, every now and again I think it's safe to look at adorable images like this...
(click to enlarge)
Marie writes: many simply know her as the girl with the black helmet. Mary Louise Brooks (1906 - 1985), aka Louise Brooks, an American dancer, model, showgirl and silent film actress famous for her bobbed haircut and sex appeal. To cinefiles, she's best remembered for her three starring roles in Pandora's Box (1929) and Diary of a Lost Girl (1929) directed by G. W. Pabst, and Prix de Beauté (1930) by Augusto Genina. She starred in 17 silent films (many lost) and later authored a memoir, Lulu in Hollywood."She regards us from the screen as if the screen were not there; she casts away the artifice of film and invites us to play with her." - Roger, from his review of the silent classic Pandor's Box.
Why not fold documentaries into my list of the "Best Films of 2011?" After all, a movie is a movie, right? Yes, and some years I've thrown them all into the same mixture. But all of these year-end Best lists serve one useful purpose: They tell you about good movies you may not have seen or heard about. The more films on my list that aren't on yours, the better job I've done.
That's particularly true were you to depend on the "short list" released by the Academy's Documentary Branch of 15 films they deem eligible for nomination. The branch has been through turmoil in the past and its procedures were "reformed" at one point. But this year it has made a particularly scandalous sin of
From the Poobah: Chaz and Roger Ebert wish you Peace in the New Year!
I have long had trouble enjoying live sporting events, concerts, and stage shows for three reasons. First, I would tire from watching the show from one single angle. Conditioned by movies, I need the variety of angles, the intimacy of close-ups and the sweep of tracking shots. Second, live events will never have the polish of a polished movie. And, third, (more applicable to large stage shows) the dialogue is always too enunciated and thus distant, even when it is "realistic."
