Great Movies
Black Writers Week
Robert Daniels & Odie Henderson Talk Wild Wild West at 25
With "Wild Wild West" turning 25-years-old, Odie Henderson and Robert Daniels discuss the film's complicated legacy.
With "Wild Wild West" turning 25-years-old, Odie Henderson and Robert Daniels discuss the film's complicated legacy.
A tribute to the great comedy director.
Part I of our round-up featuring filmmaker guests scheduled to attend Ebertfest 2018. We will include the film critics in a separate round-up.
An interview with writer/director/actor Demetri Martin about his new film, "Dean."
An article announcing the final slate of films scheduled to be screened at Ebertfest 2017.
A look at the politics and idealism of director Gary Ross, as reflected over the course of his career in films like "Pleasantville," "The Hunger Games" and "Free State of Jones."
Highlights of the live-action portion of 2015's D23, featuring "Star Wars: The Force Awakens," "Captain America: Civil War," and more!
An article on Madeline Kahn in light of the release of a new book about her.
Jennifer Kent directs the year's scariest movie; Best TV Shows of 2014; Lawsuit against NYFA; Why movies can't stop explaining themselves; Anna Kendrick on her new musicals.
No cinematic genre lends itself less for repeated viewings than comedy. Finding a truly funny picture is hard enough (not that you could tell from the typical reactions at a "Fockers" screening) and besides, how many times can people laugh at the same joke? Comedies also tend to age the worst. Among those that I recall once driving audiences wild here in México were "The Party" (1967), starring Peter Sellers, with all the guests falling into a pool full of bubbles, and Peter Bogdanovich's zany screwball feature "What's up Doc?" (1972), but watching them today mostly leaves me cold.
It's a sunny, unseasonable 80 degrees as the 2012 Santa Barbara International Film Festival kicks in, but all I want is to be indoors. When you peer at a schedule listing nearly 200 films jammed into 10 days, and you just can't wait, you know you're an addict. This is my third SBIFF so I recognize the signs.
Suddenly each January, there's an extra bustle in this appealing, laid-back town. Downtown on lower State Street, trucks appear bearing vivid banners, soon to be festooned overhead. Special lights and rigging go up at 2 central venues - the precisely restored, historic Lobero and Arlington Theatres. Locals watch to see whether Festival Director Roger Durling changes his hair: one year it was spikey, another year purple. This time it's rather like Heathcliff - longer, romantic.
"Gnarr" (85 minutes) is now available via most major on-demand platforms including cable, satellite, iTunes and Amazon Instant.
by Jeff Shannon
The United States could sure use a guy like Jon Gnarr right about now. Just take a look at the sorry state of our presidential campaigns and then consider what Gnarr achieved in his native Iceland: In January 2010 Gnarr, Iceland's most popular and controversial comedian, began to campaign for the office of Mayor of Reykjavik, Iceland's capital and largest city. What began as a joke snowballed into a seriously funny, but still very serious, protest vote that turned the tide of history.
Earning coverage in The New York Times, Gnarr's campaign was a referendum on the unchecked corruption, cronyism and incompetence that turned the richest country in Europe into the morally and financially bankrupt victim of a nationwide depression. Gnarr's campaign momentum was made possible by a climate of disgust and frustration with a political system that was broken beyond repair. In the wake of financial disaster on an unprecedented scale, Gnarr rode a wave of backlash against a gridlocked establishment.
As the playful yet firmly grounded documentary "Gnarr" unfolds, Americans can easily view the film as a reflection of our current political climate. Accounting for differences in scale (Iceland's entire population is slightly less than that of Wichita, Kansas), Gnarr's mayoral campaign, and the media circus surrounding it, is strikingly relevant to the political and economic woes of the world's top-ranking superpower. Watching the film, you can't help thinking, "What if...? "
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.
Lawrence Kasdan's "Grand Canyon" didn't make a splash when it opened here in Mexico, and it's not the kind of feature that's ever shown on our TV, so hardly anybody I know has even heard about it. It's not an easy movie to describe. When people ask me about its subject, I say something like "It's about a group of people from Los Angeles living in despair who end up feeling better when they all get together and visit the Grand Canyon." Most of them seem to loose interest but the response of those who do see it is mostly overwhelming.
Watching "The Tree of Life" brought "Grand Canyon" to mind. The films couldn't be more different, but both deal with a search for a deeper meaning in our existence-- a sense of helplessness in trying to place ourselves in the grand scheme of things. They also lack defined plots or conventional structures.
