Venice’s International Critics’ Week aka Settimana Internazionale della Critica have made their selections for their 41st edition and we’ve got some Sundance, Rotterdam and Cannes alumni filmmakers amongst this batch. From India, Shalini Adnani brings her family drama with themes...
For Episode 501 of the Next Best Picture Podcast, I am joined by Sara Clements and Will Mavity. For this week’s main topic, we’re going over the recent announcements from Venice, TIFF, and NYFF for the upcoming fall film festivals, and we’re going into...
Motor City channels the spirit of the vigilante films and other exploitation genres of the 1970s. The post ‘Motor City’ Review: Potsy Ponciroli’s Nearly Dialogue-Free, Propulsively Scored Thriller appeared first on Slant Magazine.
Saturday Night Live funnyman Bill Hader made the gradual move into feature films (his best work might be 2014’s The Skeleton Twins) and other television projects such as bits on Documentary Now! bits as some of his best work) and...
For this week’s main podcast review, Lauren LaMagna, Josh Parham, Dan Bayer, Giovanni Lago and Brendan Hodges join me for the first time on video to review and discuss the latest cinematic event from Christopher Nolan, “The Odyssey” starring Matt...
Next week we will know the line ups for the 83rd Venice International Film Festival, as well as the 41st International Critics’ Week picks and 23rd Giornate degli Autori selections. Typically landing in the 21-to-23-film range, the Golden Lion competition...
Miroslav Terzić's high-school drama pairs Ruben Östlund's austere formalism with Hanekean social horror in a study of adolescent cruelty and social exclusion, punctuated by unexpected mannerist flourishes. [Read the whole post on screenanarchy.com...]
Wednesday, July 18, is the 20th anniversary of our marriage. How can I begin to tell you about Chaz? She fills my horizon, she is the great fact of my life, she has my love, she saved me from the...
The writer, actress and producer discusses the contracting television market, the economics of internationally financed comedy and why commercial calculations must stay out of the writing room. [Read the whole post on screenanarchy.com...]