Forgive me if I sound like a dime-store psychoanalyst, but Romero’s begging you to put Barbara on the couch.
Jerry and Jamey worked their butts off on this, and it shows.
Film Festivals come and go. What’s important is what stays with you.
Stone discusses why it was so necessary to go “off the grid” to make Severed Ways.
A Time to Love and a Time to Die isn’t one of Douglas Sirk’s best films, but it’s most likely one of his most personal.
Look after the jump for a full list of posts.
Sometimes, I don’t know how I feel about Steven Spielberg.
From the beginning, the anxiety of the loss of family has been central to Pixar.
Both Henrik Ibsen and John Lasseter explore remarkably similar territory.
By muddying WALL-E’s motives, the movie suffers an uneven split once the spaceship of humans arrives into the picture.
One of Pixar’s greatest accomplishments is that their movies are more than just terrific mass entertainments.
Everybody has a place, a role, a value. The trick—with people, with food, with films, with life—is selection; that is, to have good taste.
The idea of attacking your opponent’s biggest strength head on is an old one.
The physical boundaries of Red’s Dream and Knick Knack would be transformed into a more metaphysical form for Toy Story.
Jack and Lester have no one that they care that much about and never consider what responsibilities they may have.
The question is always whether Pixar and the film’s designated director can make the journey worthwhile.
Is WALL-E better than you expected, a notable Pixar achievement, or is it just more of the same?
It’s not the computer itself which makes Pixar’s films good.
Narrative ingenuity aside, Toy Story 2 sparks to its own immaculate construction.
Pixar’s weak depiction of people is well illuminated by their anthropomorphism of inanimate objects.