Just pick a title or titles from Altman’s filmography, or some other vaguely or tangentially Altmaesque topic, and weigh in.
The sci-fi epic that has proved surprisingly divisive for such a gentle movie.
Whoever watches it is likely to come away with a different set of observations related to the film’s structural and visual decisions.
The financial success of Brokeback Mountain undeniably represents a sea change in mainstream acceptance of homosexuality.
Leonardo DiCaprio, like Natalie Portman and Kirsten Dunst, seems less complicated and charismatic the older he gets.
The parks are shrines to Disney’s personality and imagination, an autobiographical spectacular.
To spend time at Disney parks is to roam inside the American mind, for better or worse.
Munich isn’t simply about vengeance, the whole eye-for-an-eye thing, though that’s certainly topic “A.”
Amazing stuff, particularly the details about the red wolf and the ivory billed woodpecker.
As you may have heard, the New York Press, which publishes my weekly column, has once again lost the top of its masthead.
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.