In his compulsively readable new book “Movie Freak: My Life Watching Movies,” film critic Owen Gleiberman recommends limiting one’s intake at film festivals to three movies per day. Four movies or more, Gleiberman contends, is just too many, and keeping one’s slate to three “guarantees you won’t fail to respond to the nuances in that […]
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While I cannot recommend the new comedy “Meet the Blacks” on artistic grounds, as it almost completely falls flat in the humor department, a part of me hopes that it does well at the box office. Why? Because if the film makes any commercial waves, it will more likely than not initiate an important discussion
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The end credits of “God’s Not Dead 2,” similar to those of its smash-hit predecessor, begin with a detailed text scroll of court cases, both federal and local, that supposedly informed its legal-themed narrative about a high school teacher on trial for invoking Jesus in the classroom. Blink and you’ll miss them, as they fly
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After exploding onto the international film scene with the virtuosic 2005 debut “Tsotsi,” made in his native South Africa, director Gavin Hood gave the term “sophomore slump” new meaning by ignoring filmmaking elementals in favor of blatant Bush-bashing in his 2007 crossover picture “Rendition.” Now, after big-budget forays into the fantasy realms of Marvel Comics
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At what point does an auteur’s “signature style” cross over into becoming a game of directorial Mad Libs? That’s the question I wrestled with for most of Terrence Malick’s “Knight of Cups,” a typically gorgeous effort from the reclusive filmmaker that nonetheless employs his trademarks—shots following characters from behind and hushed voiceover the most recognizable
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Contrary to what some websites have decided in recent years, Oscar predicting should not be a year-round game. The winners are not to be obsessed over, as they fade from memory quicker than most things. But on the day of the ceremony, it makes for a fun game. This year, I managed to see every
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Few filmmakers ascend to the the levels of both commercial success and critical acclaim required for Hollywood to extend them a pass to make whatever film they desire, within reason, but Quentin Tarantino has seemingly occupied such a privileged position for the last decade. Tarantino’s blank checks, made out by his career-long godfather Harvey Weinstein,
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“I’m going to put music in your pocket. One hundred songs. No, 500. I’m going to put between 500 and 1,000 songs in your pocket,” Steve Jobs blurts out to his college-aged daughter Lisa (Perla Haney-Jardine)—yes, the same daughter whose paternity he vulgarly denied in the pages of Time magazine over a decade earlier—in the
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As always, the TCM Classic Film Festival did not disappoint on any level this year, be it the quality of the prints (whether archival celluloid or shiny new digital restorations), the quality and diversity of the guests (famous, knowledgeable, and often both rolled into one), the operation of the festival (seldom did a presentation start
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Los Angeles is home to hundreds of film-related events every year, and even though purist cinephiles often bemoan a lack of access to older films compared to New York, our repertory circuit stacks up pretty well: Cinefamily, the New Beverly, the Egyptian, the Aero, UCLA’s Billy Wilder, LACMA, the list goes on. But nothing in
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