Manny Farber, 1917-2008
L.A. Weekly |
August 29, 2008
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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Sautéed Chicken Breasts Over Fascism, From the Director of 'The White Ribbon'new
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.
L.A. Weekly |
Scott Foundas |
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Profiles & Interviews
Tags: The White Ribbon, Michael Haneke
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.
L.A. Weekly |
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'It's Complicated': Nancy Meyers' New Movie is Really Annoyingnew
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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12-28-2009 |
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Sony assumed North Korea would hate the movie. The question was: What would it do?
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Who Killed the Romantic Comedy?new
Rom-coms used to be a cash cow — and wildly popular with audiences. What happened?
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David Lynch: The L.A. Weekly Interviewnew
"I'm not a musician, but I play music."
L.A. Weekly |
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Dennis Hopper: Remembering an American dreamernew
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.
L.A. Weekly |
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