Dispatch from the European Film Awards
L.A. Weekly |
December 14, 2007
L.A. Weekly
With hard-hitting investigative stories, spirited criticism and provocative cultural coverage, L.A. Weekly has become the nation's most widely read alt-weekly — and an important voice in Los Angeles. The paper's writers have dominated the L.A. Press Club's Journalist of the...
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Dogmatic ideologies — religious, political and social — are central to Michael Haneke’s latest film, The White Ribbon, which unfolds in a rural German village during the year preceding the start of World War I.
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From Industry Turmoil, Great Films Arosenew
And so another year comes to an end, and with it a decade (Gregorian contrarians notwithstanding) in which the answer to the question “What is cinema?” underwent more radical transmutations than in any comparable period since the dawn of moving images.
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Does Nancy Meyers hate women? The thought ran through my head not very long into It’s Complicated, Meyers’ biennial stocking-stuffer about the romantic trials and tribulations of obscenely privileged and narcissistic Southern Californians.
L.A. Weekly |
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Sony assumed North Korea would hate the movie. The question was: What would it do?
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David Lynch: The L.A. Weekly Interviewnew
"I'm not a musician, but I play music."
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Hopper's brief friendship with James Dean, his co-star and mentor on the sets of Rebel Without a Cause and Giant marked him for life; they shared a passion, which Dean was the first person in Hopper's world to fully articulate.
L.A. Weekly |
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Bruce Willis, Tracy Morgan and Movie Mockery in Kevin Smith's New Featurenew
The film's opening shot, set to the Beastie Boys' No Sleep 'Til Brooklyn, is a slow-motion, toe-to-head tilt-up of white cop-black cop buddies Jimmy (Bruce Willis) and Paul (Tracy Morgan) swaggering stone-faced toward the camera.
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