This one is for the Malick-heads.
This is comedy as death risk.
Any movie that can make Jeffrey Wells sound like an 18-year-old James Agee is a movie I need to see as soon as possible.
Although History of Violence was surprisingly underrepresented in Tuesday’s Oscar nods, the rancor continues.
Miller’s observations have dated in the sense that TV does allow keen stylistic gradations between channels.
Where to begin?
“I think it’s very easy for us to look down on James Whale from our 21st-century perches.”
The New World is not merely a movie, but a generation-defining event.
Ted Koppel’s post-Nightline career has barely started, and already it’s shaping up to be as valuable as the one he left behind.
Alonso Duralde is the arts and entertainment editor of The Advocate, a longtime friend, and one my favorite people to argue with.
When you think of Escape to Witch Mountain and Return from Witch Mountain, do you think of Thomas Pynchon and Thomas Mann?
Why is it so hard to make myself write an appreciation of Christopher Penn?
The New World is a new watermark.
I watched the re-cut The New World Saturday night and was knocked out, not just by the movie but by the circumstances.
Garrett Brown might be the most influential filmmaker that the moviegoing public hasn’t heard of.
It’s become an industry workhorse not because he was any sort of Luddite, but because he thought the Steadicam encouraged lazy filmmaking.
The blogosphere being what it is, I’m sure the expiration date on Golden Globes commentary has passed.
I’ve just been formally relieved of TCA Press Tour duties by my colleague Alan Sepinwall, who will be covering the second half.
Hill suggests that the western’s slow decline was probably due to two factors.
At a Court TV dinner, James Ellroy said he’d seen three hours of unedited footage from The Black Dahlia.