This isn’t Oscar time. It’s Ed time. Edward Copeland, that is.
To say that Charlotte’s Web doesn’t dishonor its source sounds like a backhanded compliment, but it’s actually the highest praise.
The problem with Children of Men is that it’s too much of a performance and not enough of a movie.
Rocky Balboa traffics in humility, vulnerability, and smallness.
Moviemakers’ Master Class reveals how the best movies reflect the personalities of their creators.
When everyone tells you you’re drunk, you’d better lie down.
Mel Gibson’s Apocalypto is one of the most viscerally powerful and intensely upsetting movies of the year.
The Fountain is a gusher of poetic imagery, extravagant yet controlled.
The boys used to clown like they had nothing to lose. Now they’re protecting an investment.
Ed Bradley, best known as a 60 Minutes contributor, was certainly cool by any standard.
The first of three essays written by House Next Door contributors for the Reverse Shot Brian De Palma symposium.
Roll up your sleeves and let’s do it.
The movie’s character development signposts and sociological observations are hamfisted from the get-go.
A bit of a trick question, admittedly.
Produced out of PBS’s affiliate station WGBH in Boston, Frontline World ignores marketplace wisdom.
Robert Aldrich’s Kiss Me Deadly ups Spillane’s ante and calls his bluff.
An indispensible book, mixing surprising and original insights with the usual amount of bemused and sometimes flatulent Thomsonian pontificating.
De Palma translates Ellroy’s dick-swinging dialectics into his own, decidedly more sensitive aesthetic.
Yes, for real.
There is no pop culture equivalent of a historic landmarks commission, but at times like this, I wish there were.