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Girls Trip

Screenwriters Kenya Barris and Tracy Oliver know how to get the party started and keep it lively.

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Ballad of Narayama

"The Ballad of Narayama" is a Japanese film of great beauty and elegant artifice, telling a story of startling cruelty. What a space it opens…

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* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.

#178 July 31, 2013

Marie writes: As the dog days of summer slowly creep towards September and Toronto starts getting ready for TIFF 2013, bringing with it the promise of unique and interesting foreign films, it brought to mind an old favorite, namely The Red Balloon; a thirty-four minute short which follows the adventures of a young boy who one day finds a sentient red balloon. Filmed in the Menilmontant neighborhood of Paris and directed by French filmmaker Albert Lamorisse, The Red Balloon went on to win numerous awards and has since become a much-beloved Children's Classic.

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Drive: An under-the-hood manual

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When I saw, and immediately wrote about, Nicolas Winding Refn's "Drive," I knew almost nothing about it except the title and that Ryan Gosling was in it. I remembered that it had received acclaim at Cannes back in May (I did not recall that Refn had won the best director prize) and, as it turns out, I hadn't seen any of Refn's previous films -- although "Bronson" and "Valhalla Rising" had been recommended to me by friends. Since then, I've been reading up on "Drive" and have discovered so many fascinating little tidbits (many of which confirm my first impressions) that I decided to put together this little primer.

I recommend that you refrain from reading this until you've seen the movie, though.

Cited influences include: Grimm's Fairy Tales, John Hughes ("Sixteen Candles," "Pretty in Pink"), Sergio Leone, Alejandro Jodorowsky...

On the title font:

Refn: Me and Mat Newman, who edits all my movies, we stole that in the editing table from "Risky Business."

-- from an interview with Scott Tobias at The A.V. Club

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A personal vision with international scope

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CHAMPAIGN-URBANA -- Michael Tolkin, the writer-director of 1994's "The New Age," which played at Ebertfest on Thursday, surveyed the packed house from the stage of Champaign's historic Virginia Theater and said, "This now doubles the number of people who saw this film on its first release."

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Babs, Henry and Long Duk Dong:Cleaning up after the Oscars

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I said just about everything I had to say about the Oscars in a dozen or so tweets I filed the evening of the broadcast, in between juggling manual updates for a couple of stories on RogerEbert.com (including Roger's live-tweets of the show) and approving Oscar comments on Roger's blog. I think I got out of my chair two or three times between 3:30pm and 9:30pm PST.

So, yeah, I made a few observations -- like this:

Instead of playing "I Am Woman" after Kathryn Bigelow's win, why didn't they play "Papa Can You Hear Me?" for Babs? #oscars

And this:

Elinor Burkett's Oscar performance marks the official arrival of the word "Kanye" (or "Kanyed") as a verb. http://j.mp/9XIwqy #oscars

And this:

Has "Based on the Novel Push by Sapphire" become the new "Electric Boogaloo"?

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No pain for "Hurt Locker," Bigelow

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HOLLYWOOD — "The Hurt Locker," a film that was made with little cash but limitless willpower, defeated the highest-grossing film in history and won the best picture Oscar here Sunday night. The director of the spine-chilling war drama, Kathryn Bigelow, became the first woman to ever win the best director Oscar. James Cameron, director of "Avatar" — and her former husband — cried all the way to the bank.

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No fatties

I made a mistake this week. I followed a link from a discussion among reputable movie critics to a showbiz gossip blog that I usually find too sleazy to visit. There I once again found all manner of bilious items that creeped me out and reminded me why I shouldn't go there. One of them insulted a late, internationally renowned film critic for choosing, on his deathbed, a Howard Hawks western as his favorite movie over another title the gossip prefers. (No doubt the latter feels entitled to express an opinion about what your last meal should be, too.) Another post included the observation that Vince Vaughn "needs to lose 30 pounds. He appeared to be at the tipping point during the 'Couples Retreat' press junket."

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John Hughes: In Memory

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Few directors have left a more distinctive or influential body of work than John Hughes. The creator of the modern American teenager film, who died Thursday in New York, made a group of films that are still watched and quoted today.

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Is Judd Apatow John Hughes? (Answer: No)

View image Those plucky, sympathetic teens of yesteryear.

You know what? "Sex and the City" was for girls! Yes, it's true. First it was for (and about) gay boys, but eventually it revolved around a certain brand of perfume-insert, fashion-magazine womankind: rich, white, co-dependent, status-obsessed, desperate for a man to complete her.

Know what else? Judd Apatow makes movies about guys -- and heterosexual relationships with women, but mainly about what used to be known as "male bonding." (The fashionable term now is "bro-mance," which is cuter and invoked largely by what used to be called "metrosexuals.") The Apatow guy tends to be underemployed, white, Jewish (or Canadian), slobby, geeky, smelly, childish (not just "childlike") and more or less happy, unaware that he's desperate for a woman to complete him. Then, once he becomes aware, he's not entirely sure that's possible, or desirable.

This, I submit, is a minor breakthrough in romantic comedy. OK, perhaps I am single and bitter, but I'm also right.

In the New York Sun (also known as "the conservative New York Sun"), Steve Dollar mentions that Catherine Keener's character in "The 40-Year-Old Virgin" "pretty much takes the blame for making the poor guy sell all his collectible model toys (but whose side is Apatow on?), and spends much of her screen time mothering her infantile boyfriend."

Is that what happens? Even if so, whose side is Mr. Dollar on? (And who said it was necessary to divine and choose "sides"?)

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