If you’re in the latter camp, then you probably won’t respond much to “Spielberg,” an unabashedly admiring two-hour-and-27-minute documentary portrait of the man and (mostly) his movies that premiered tonight
All of that makes for a long movie — it clocks at nearly two-and-a-half hours — but the documentary has its rewards. Here’s the highlights of Lacy’s look at the 70-year-old icon.
There was a pet monkey
“My mom was Peter Pan,” said Spielberg. “She was a sibling, not a parent.” Prior to Leah Adler’s death in February at 97, the longtime restaurateur told Lacy about the time she came across
Awards season is really heating up now that release dates (or lack thereof) are firming up, and various pre-Oscar honors are being announced. Last year, you may recall, The Film Experience was invited to attend the Middleburg Film Festival and we're invited for a second round next month.
The fest, now in its fifth year and closer to something like Telluride than Toronto or Cannes considering its Oscar focus and brevity, is growing each year and all takes place at one well-heeled resort. Last year they had big events for La La Land and Lion as well as very crowded talks with Cheryl Boone Isaacs on the Academy's diversity efforts as well as a fascinating discussion of Us presidents and cinematic depictions with Janet Maslin and David Gergen where the danger of Trump was discussed at length (before the election - sigh). At that event they spent
Andrei Tarkovsky’s final Soviet feature is a metaphysical journey through an enigmatic postapocalyptic landscape, and a rarefied cinematic experience like no other. A hired guide—the Stalker—leads a writer and a professor into the heart of the Zone, the restricted site of a long-ago disaster, where the three men eventually zero in on the Room, a place rumored to fulfill one’s most deeply held desires. Adapting a science-fiction novel by Arkady and Boris Strugatsky, Tarkovsky created an immersive world with a wealth of material detail and a sense of organic atmosphere. A religious allegory, a reflection of contemporaneous political anxieties, a meditation on film itself—Stalkerenvelops the viewer by opening up a multitude of possible meanings.
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Episode Links Stalker (1979) – The Criterion Collection Stalker (1979) – IMDb Stalker (1979) – Wikipedia,
“There were a lot of older people,” Streisand told her interlocutor Robert Rodriguez. “They don’t want to see a woman director.”
“I don’t know how many women wanted to see a woman director,” she added.
Susan Seidelman had just completed her first feature when the Cannes Film Festival came calling. In 1982, Seidelman wasn’t yet 30; she was only a few years out of film school and had only a single feature under her belt. But that didn’t matter to the world’s most well-regarded festival. They wanted Seidelman’s “Smithereens,” and the ensuing reception for the film — a punk-infused dark comedy about the bohemian underworld of New York City featuring a not entirely likable lead character — didn’t just change Seidelman’s life; it changed the way American independent cinema was received around the world.
“Smithereens,” shot guerilla-style around the city with a cast and crew made up of many of the filmmaker’s Nyu classmates, marked a sea change for Cannes: It was the first American independent feature had
About the films:
Over the past four decades, Belgian director Chantal Akerman (Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles) has created one of cinema’s most distinctive bodies of work—formally daring, often autobiographical films about people and places, time and space. In this collection, we present the early films that put her on the map: intensely personal, modernist investigations of cities, history, family, and sexuality, made in the 1970s in the United States and Europe and strongly influenced by the New York experimental film scene. Bold and iconoclastic, these five films pushed
“Film criticism is in the exact same position as latenight talkshow hosts,” says B. Ruby Rich, Uc Santa Cruz professor of film and digital media. “The hiring of Stephanie Zacharek at Time is positive. Manohla Dargis reviews for the New York Times and Ann Hornaday is at the Washington Post. And, yet, female critics who barely got a toe-hold anyway are often the last hired, first fired.”
And there has been a decided brain drain among the few, the strong that once had industry stature. Where have the heavyweight professional critics Janet Maslin, Carrie Rickey, Caryn James, Leah Rozen, Eleanor Ringel, Lisa Schwarzbaum, Susan Wloszczyna, Claudia Puig, Christy Lemire, Lisa Kennedy and Katherine Monk gone, once they took the buyout
The thriller Raise The Titanic was a $40m flop in 1980, its model Titanic alone costing millions. Ryan charts the replica's sad history...
By autumn 1977, author Clive Cussler was the toast of the publishing world. Following a decade of writing and two moderately successful novels, his third book, Raise The Titanic! was a runaway bestseller. Its popularity was a contrast to Cussler's earlier books, which had earned him a relatively meagre $5,000. But those earlier adventures - The Mediterranean Caper and Iceberg - helped establish the daring hero Dirk Pitt, a practical, earthy hero designed as a counterpoint to the suave, refined James Bond.
For Raise The Titanic!, Cussler dreamed up a scenario in which Pitt headed up a multi-billion-dollar operation to find and recover the doomed luxury liner, which sank in 1912. Their goal: to recover a mysterious, incredibly rare substance called byzantium from the ship's belly - a
Released in October, Re-Animator proved once again that when properly executed, horror and humor are delightful bedfellows, co-conspirators with the noblest of intentions: to entertain. Horror, while certainly not easy to do well (scroll through Netflix on any given day), has it made in the shade compared to comedy. Humor is more subjective, and what rubs me as funny may chafe you as stupid or insipid. Most people will agree that The Exorcist is terrifying, but not everyone likes
About the films:
The legendary French filmmaker Agnès Varda, whose remarkable career began in the 1950s and has continued into the twenty-first century, produced some of her most provocative works in the United States. After temporarily relocating to California in the late sixties with her husband, Jacques Demy, Varda, inspired by the politics, youth culture, and sunshine of the San Francisco and Los Angeles areas, created three works that use documentary and fiction in various ways. She returned a decade later, and made two other fascinating portraits of outsiderness. Her five revealing, entertaining California films, encompassing shorts and features, are collected in this set,
As Hackers celebrates its 20th birthday today (September 15), here's what happened to the six stars who made up the cyber-punk crew.
Hackers handle: Acid Burn
In 1995, Jolie was a fast-rising 20-year-old actress with Cyborg 2 and some big music videos (including Meat Loaf, Lenny Kravitz and The Lemonheads) on her CV. New York Times critic Janet Maslin was non too plussed about Jolie's performance, saying of her character: "Kate stands out. That's because she scowls even more sourly than [her co-stars] and is that rare female hacker who sits intently at her keyboard in a see-through top."
Now, the 40-year-old is an Oscar-winning superstar with humanitarian work spanning more than a decade and
It's also very much a product of its time. Terminator 2 is a violent film, made in a violent period of history. According to James Cameron, the Rodney King beating didn't just take place near the biker bar they shot Arnie's opening scenes in, it happened on a night Terminator 2 was filming. There's something too eerie about that story for it not to be true. After all, what was more prescient in 1991 than the sight of an
Anderson was a pioneer in the use of digital filmmaking and an early advocate of the New Mexico Film Incentive Program.
Anderson wrote and directed eight movies. His short “Hearts of Stone” was the 1987 runner-up for Academy Award and played at the Sundance Film Festival, where it came to the attention of Oliver Stone, who subsequently produced Anderson’s first feature film, “South Central,” which was released by Warner Bros. The movie received wide critical acclaim, most notably in the New York Times where film critic Janet Maslin named Anderson one of the “Who’s Who Among Hot New Filmmakers in America,” along with Quentin Tarantino and Tim Robbins.
Hayes, a former journalist and award-winning screenwriter whose credits include “Payback,” “Mad Max 2: The Road Warrior” and “Dead Calm” is adapting his debut novel for the screen. Lloyd Braun is producing the film through his Whalerock Industries. Andrew Mittman at Whalerock will serve as Executive Producer.
“Pilgrim” is the codename for a man who doesn’t exist. The adopted son of a wealthy American family, he once headed up a secret espionage unit for Us intelligence. Now in anonymous retirement, he is called upon to lend his expertise to an unusual investigation but ultimately becomes caught in a terrifying race-against-time to save America from oblivion.
The thriller, which has recently landed on The New York Times bestseller
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