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Actors & Personalities · Artists · Directors · Interviews · Movies
With additional comments by Catalina Sandino Moreno and Ethan Hawke Introduction The distributor’s website describes Richard Linklater’s Fast Food Nation, a dramatic feature based on Eric Schlosser’s best-selling book, as[…]
Bob Zemeckis and Stephen Spielberg want your money. Give it to them. It’s sad but true: no one does spit tobacco juice on the audience in Monster House. But even[…]
Bring us the head of Sofia Coppola, ‘k? Of all cinema publics, France holds the reputation for the most cinephiles, for being the home of the invention of the “auteur.”[…]
Provocative and visionary! The MadCat Women’s International Film Festival is based in San Francisco, but one hesitates to call it a “San Francisco festival.” Programmed for the past ten years (this September[…]
Artists · Directors · Interviews · Movies · Reviews
“I do not have the serenity of women. But I admire it.” Pedro Almodovar’s new film Volver (Return) features an unusual number of deaths. Penelope Cruz, in the best performance[…]
If you must see only one Truman Capote movie in your life, let it be this one Do I really want to see a movie about Truman Capote leaving Manhattan[…]
Scorsese gets all Irish on our asses, and it works I admit it. I thought Marty had lost it. I thought he had gone all lazy and cute and Hollywood,[…]
Artists · Interviews · Stars · Writers & Critics
“Please note that even Margo Channing, threatening a ‘bumpy night’ for her hapless guests, merely fumingly forecasts. It’s a gesture of mind, not body.” Introduction Camille Paglia, the scholar and[…]
High camp in three minutes or less The idea that bigger is better may play better in the lexicon of size queens than in le cinema contemporaire. Hollywood’s insistence on[…]
Documentaries · Genres · Movies · Reviews
“Every smallest branch of the human family at one time or another has carved its dreams out of the rock on which it has lived.” – Alan Lomax It was a remarkable[…]
“There are things you shouldn’t sell” For the festival’s 42nd annual opening night, the 3,000-seat Chicago Theatre threw open its doors and watched the convergence on the red carpet as[…]
“I expect to be erect any time now.” “An eighth-grader’s mind trapped in an eighth-grader’s body.” That’s how one critic summed up Aaron Spelling. Aaron had him killed, of course.[…]
When Jack Palance’s Lieutenant Joe Costa suddenly returns from what seemed a certain death in Robert Aldrich’s Attack (1956) – his left arm hanging lifeless, rendered to ground beef by[…]
Tom Sutpen’s classy review of Sleazoid Express, by Bill Landis and Michelle Clifford, certainly brought back the memories, to wit: After I came back from Vietnam in December 1969 I[…]
Edward Copeland at The House Next Door has written a great post concerning film monologues. After considering what makes a great film monologue, he describes in detail 5 stellar examples.[…]
Painting influences film. Film influences painting. The portraits of Los Angeles painter and performance artist Stacy Lande (pronounced, “lan-dee”) appear equally influenced by 19th Century Symbolism, 20th Century Expressionism, and[…]
Exploitation & Erotica · Writers & Critics
Here in America we have something that, with the straightest of faces, we call our Film Heritage. What people usually mean when they invoke this solemn, unconscionably sentimental honorific is[…]
While the rest of the blogosphere is celebrating director Robert Aldrich, I thought I’d put in a word for one of my favorite – and least discussed – Aldrich films,[…]
Orson Welles’ The Lady From Shanghai (1948) is one of the most anti-noir of classic noirs. “Shanghai” in The Lady From Shanghai means the same thing as “Chinatown” in[…]
