A screening of new films and videos by advanced production students at Columbia College, including Virginia Anello, Jonathan Armsterd, Dennis Belz, Daniel Berube, Benjamin and Geoffrey Fingerhut, Darcy Gentling, Sean Gustafson and Adam Ruhl, David Michor, and Gabe Ransenberg.
more...
I was so offended by the cynicism and class condescension of Citizen Ruth, Alexander Payne's first feature, that I've remained suspicious of his work even as he's emerged as a more skillful director in Election and this still more ambitious and accomplished film.
more...
After a young Mexican girl is killed by a car, her brother, mother, and father each cope with her death differently, but 11 years later all three are still haunted by the tragedy: the brother has become fascinated with the notion of death by drowning, the mother is obsessed with her job hosting a tabloid talk show, and the disconsolate father wanders the city, filming girls he imagines could be his daughter.
more...
Both of D.W. Griffith's sound films—Abraham Lincoln (1930) and The Struggle (1931)—were scorned as archaic when they came out, which helps explain why he wasn't allowed to direct again for the 17 remaining years of his life.
more...
The invective against the press and the First Amendment contained in Sydney Pollack's 1981 film is probably its least objectionable aspect: the picture has a smug, demoralizing sense of pervasive corruption, putting forward the Paul Newman character (a businessman libeled by reporter Sally Field) as the last good and true human being in the United States.
more...
Stanislaw Mucha's 2001 documentary traces Andy Warhol's roots to a town in Eastern Europe where members of his extended family offer up their opinions of the pop-art icon.
more...
A fascinating attempt by rock video director Julien Temple to do several things at once—adapt a Colin MacInnes novel, show the London youth scene in 1958 (while dealing at length with the racial tensions of the period), build on some of the stylistic innovations of Frank Tashlin, Vincente Minnelli, and Orson Welles, and put to best use a fascinating score by Gil Evans that adapts everything from Charles Mingus to Miles Davis.
more...
Clint Eastwood as producer-director-star strikes out in a rather slack thriller that oddly recalls a couple of Hitchcock's lesser movies, To Catch a Thief and Topaz.
more...