Latest Blog Posts

<p>Christian Bale as Bruce Wayne in Christopher Nolan's &quot;The Dark Knight Rises.&quot;</p>

Christian Bale as Bruce Wayne in Christopher Nolan's "The Dark Knight Rises."

Credit: Warner Bros.

Q&A: ‘Dark Knight Rises’ star Christian Bale admits he’ll miss wearing Batman’s rubber suit

If it was up to him you'd have a 'very bizarre Batman' movie

PITTSBURGH – The last time I saw Christian Bale with black smudge under his eyes was on the Chicago set of “The Dark Knight” in the summer of 2007.  The black makeup is used to make the actor’s eyes pop through Batman’s headgear and he sheepishly wore sunglasses during our entire interview likely out of embarrassment over it.  Four years later a more confident and relaxed Bale stopped by to chat on the set of the highly anticipated sequel, “The Dark Knight Rises,” and sunglasses were nowhere to be found.

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<p>Hannah (Lena Dunham) and Adam (Adam Driver)&nbsp;go for a ride on &quot;Girls.&quot;</p>

Hannah (Lena Dunham) and Adam (Adam Driver) go for a ride on "Girls."

Credit: HBO

Revew: 'Girls' - 'Welcome to Bushwick, A.K.A. The Crackcident'

Violence, drugs and rock 'n roll all figure into a memorable warehouse party

A review of tonight's "Girls" coming up just as soon as I reduce you to a subculture and then fail to accurately name the subculture...

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<p>Tilda Swinton, Bruce Willis, Bill Murray, Edward Norton and the cast of Wes Anderson's &quot;Moonrise Kingdom.&quot;</p>

Tilda Swinton, Bruce Willis, Bill Murray, Edward Norton and the cast of Wes Anderson's "Moonrise Kingdom."

Credit: Focus Features

'Moonrise Kingdom' breaks 'Brokeback Mountain's' all-time per screen record

Memorial Day weekend's must-see in LA and NY

Welcome back Wes Anderson.

After strong reviews following its debut as the opening night film at the 2012 Cannes Film Festival, Wes Anderson's "Moonrise Kingdom" ruled the box office in New York and Los Angeles this holiday weekend.  The Focus Features release grossed $509,000 on just four screens in New York and Los Angeles for a remarkable $127,500 per screen.  That breaks the art-house record for another Focus Features classic, "Brokeback Mountain."  The Ang Lee phenomenon averaged $109,485 in Dec. 2005.

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<p>Michael Haneke poses with his Palme d'Or as &quot;Amour&quot;&nbsp;star Emmanuelle Riva looks on.</p>

Michael Haneke poses with his Palme d'Or as "Amour" star Emmanuelle Riva looks on.

Credit: AP Photo

Michael Haneke's 'Amour' takes the Palme d'Or at Cannes

Other awards for Matteo Garrone, Ken Loach and Carlos Reygadas

So, it was the favorite all along. Michael Haneke's "Amour" looked, on paper, the film to beat before this year's Cannes Film Festival started. The rapturous critical reception that greeted its unveiling solidified its position as the frontrunner. Only concerns like "too obvious" and "he already has one" prevented some pundits (myself included) from predicting it for the Palme d'Or, and we were clearly overthinking matters.

Tonight, Nanni Moretti's jury handed Haneke the Palme, making him the seventh filmmaker to win the award twice -- and only the second to win for consecutive films. Between the predictability of the decision and the director's existing laurels, there's a temptation to complain that the jury has made a safe choice here, an anticlimactically conservative one. (And not just with the Palme: all five of the Competition filmmakers rewarded by the jury tonight have won at Cannes before. It's a members' club, all right.) The ideal way to ward off such petty feeling, however, would be to take an immediate second look at "Amour" -- to remind oneself of its immaculacy of construction, its delicacy of performance, its simple strength of feeling.

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Quvenzhané Wallis in "Beasts of Southern Wild."
Quvenzhané Wallis in "Beasts of Southern Wild."
Credit: Fox Searchlight Pictures

'Beasts of the Southern Wild,' 'In the Fog,' 'The Hunt' take preliminary Cannes awards

Un Certain Regard, FIPRESCI and Ecumenical Jury prizes have been announced

We're only a few hours away from hearing what Nanni Moretti and his motley crew of jurors have decided is the best of the Cannes Film Festival, but in the meantime, a slew of smaller awards announcements have dropped -- some more surprising than others.

The most significant of these are the selections of the FIPRESCI jury, a rotating panel of international film journalists whose awards effectively represent the critics' choice of the festival lineup. As such, their Competition pick tends to fall in line with the established festival buzz that has, by and large, been created by critics. (Sometimes, however, they surprise: "On Tour" wasn't a critical darling of the fest two years ago, but took the prize anyway.) Rarely, however, do they tap the eventual Palme d'Or winner: they last time they did so was with "The White Ribbon" in 2009, while last year's FIPRESCI pick, "Le Havre," received nothing from the festival jury.

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<p>Emily Van Camp of &quot;Revenge&quot;</p>

Emily Van Camp of "Revenge"

Credit: ABC

DVR Gridlock 2012-13: Sunday Nights

How will your Sunday nights this fall be different?
[Over the next six days, I'm going to be glancing, night-by-night, at how the primetime schedules have changed after the network announcements at upfronts. I'll be looking at how the various changes will impact the ratings races on each night, as well as my own DVRing habits. Readers can chime in on how their own DVRs will be impacted. And yes, this brief series assumes that anybody still watches TV on their TVs. I'm old-fashioned.]
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<p>John Mayer in concert in April 2011.</p>

John Mayer in concert in April 2011.

Credit: AP Photo

John Mayer finds his voice at No. 1 on the next Billboard 200

Where happens with 'American Idol's' Adam Lambert and Kris Allen?

Though John Mayer’s performance wings have been clipped due to his current vocal issues, they won’t stop him from soaring into the top spot on the Billboard 200 next week by a wide margin.

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<p>Marion Cotillard in &quot;Rust and Bone.&quot;</p>

Marion Cotillard in "Rust and Bone."

Credit: Sony Pictures Classics

Who will win at Cannes tomorrow... and who should

Three years on, could it come down to Haneke vs. Audiard again?

Right, we're almost there. All 22 Competition films have been screened, the crowds are starting to thin out and France's rosé reserves are in urgent need of refilling. In less than 24 hours, the 65th Cannes Film Festival will be but a beautiful/punishing/hazy memory, but before we can get to the post-mortems and dissections of what standard of fest it was -- my snap verdict: not as good as last year, but contrary to what some doom-sayers will tell you, attending Cannes still beats coal-mining -- there's the small matter of the awards to get through. I say it every year: predicting the jury's choices is an entirely foolhardy business. Something else I do every year? Predict the jury's choices.

Are we headed for a repeat of 2009's Cannes ceremony, where Jacques Audiard and Michael Haneke fought it out for the top prizes? The relative thinness of this year's Competition suggests that might be the case, with most pundits favoring the happy-go-lucky Austrian to come out on top once more. After the jump, check out my best guesses for which way Nanni Moretti's posse will lean tomorrow, as well as which films and individuals would get my vote. 

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<p>Don't forget to watch both halves of the &quot;Buffy the Vampire Slayer&quot;&nbsp;pilot before our next podcast.</p>

Don't forget to watch both halves of the "Buffy the Vampire Slayer" pilot before our next podcast.

A 'Buffy'/'Deadwood' rewind clarification

Note that both the podcast and blog rewinds will begin with two episodes at once

So on Tuesday, Fienberg and I announced that this summer's podcast rewind would be season 1 of "Buffy the Vampire Slayer," and on Thursday, I added that the blog rewind would be season 2 of "Deadwood." 

What we failed to do a good job of in either instance was to clarify exactly how much you all should be watching before the first discussion begins.

With "Buffy," it's the two-hour series premiere as it aired on the WB 15 years ago, but which has been separated into two episodes for syndication, on DVD and now on Netflix and Amazon streaming. So watch both "Welcome to the Hellmouth" and "The Harvest" before the next podcast, which may be this coming week or may be the following, given Dan's travels.

With "Deadwood," I decided after watching the first two episodes — "A Lie Agreed Upon, Part I" and "A Lie Agreed Upon, Part II" — that even though they didn't air on the same night the way the "Buffy" premiere did, the titles and the structure suggests that David Milch wanted them to be viewed as one big premiere story, so that's what we're going to do. I'll be discussing both at once with the review going up on Friday morning, and the plan is to do one episode per week after that, give or take my own summer travels.

Sorry for the added wrinkle, but I wanted to make sure everyone knew what the homework assignment was before the next class.

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<p>The McCoys from &quot;Hatfields &amp; McCoys&quot;</p>

The McCoys from "Hatfields & McCoys"

Credit: History

Interview: Producer Leslie Greif talks History's 'Hatfields & McCoys'

TV veteran discusses landing Kevin Costner and shooting in Transylvania
Kevin Costner and Bill Paxton are the big stars featured in the poster for History's "Hatfields & McCoys."
The helmer of "Robin Hood: Prince of Tides" and "Waterworld" gets the "A Kevin Reynolds Film" credit.
But before any of those names, as the opening titles roll, the three-night miniseries is "A Leslie Greif Production."
The story of America's most famous family feud -- all apologies to Richard Dawson -- has been a passion project several decades in the making for Greif, the founder and CEO of Thinkfactory Media.
In addition to "Hatfields & McCoys," Thinkfactory is the company behind "Gene Simmons Family Jewels" and Lifetime's "Intimate Portraits," though Greif may be best known as one of the creators of "Walker, Texas Ranger."
I chatted with Greif last week about the long journey to bring "Hatfields & McCoys" to the small screen, the power that comes from Kevin Costner attaching himself to your project and why the story of these bickering clans remains potent to this day.
Click through...
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<p>Tye Sheridan, Matthew McConaughey and Jacob Lofland in &quot;Mud.&quot;&nbsp;</p>

Tye Sheridan, Matthew McConaughey and Jacob Lofland in "Mud." 

Credit: Everest Entertainment

Review: 'Mud' brings Jeff Nichols' moodiness to the mainstream

Affecting, conventional coming-of-age tale closes out the Cannes competition

CANNES - A funny thing happened during this morning’s introductory press screening of “Mud” – a snafu that would make an already nervous filmmaker clutch his forehead and represents an unusual malfunction in the well-oiled machine of the Cannes Film Festival.

A little over midway through the screening of Arkansas writer-director Jeff Nichols’ third feature, the digitally projected image was suddenly buried under a gaudy griddle of fluorescent green lines, before shots began to overlap and the sound veered out of sync. Swiftly corrected and rewound, the technical error didn’t harm anyone’s enjoyment of what turned out to be a robustly applauded Competition closer, but it did oddly highlight what had been bothering me about this enjoyable, evocative slice of contemporary American classicism: it was the only truly unanticipated moment of the film thus far.

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<p>John Lithgow and Harry in &quot;Harry and the Hendersons&quot;</p>

John Lithgow and Harry in "Harry and the Hendersons"

Credit: Universal Pictures

‘Men in Black III’ alien designer Rick Baker on his favorite creature

It's not what you might think

“Men in Black III”’s U.S. release inspired Kris to post a list of legendary effects/makeup artist Rick Baker’s top 10 contributions to cinema earlier this week. With 12 Oscar nominations and seven wins, Baker is perhaps the most well known and revered man working in his field.

As Kris’s article indicates, the creature effects mastermind’s catalogue of work is both varied and prolific. Baker has run the gamut between horror (“The Ring,” “Cursed”), comedy (“Tropic Thunder,” “Ed Wood,” “The Nutty Professor” and, a personal favorite, “Coming to America”), fantasy (“Hellboy,” “Enchanted”) and of course, sci-fi comedy with the distinctive “Men in Black” franchise.

In his interview with Baker, Drew McWeeny mentions the transformation sequence in “An American Werewolf in London” as a moment that forever altered his perception of what is possible in the world of filmmaking. McWeeny is certainly not alone. For many, the thriller remains, if not the most successful, the most beloved on-screen rendering of the shape-shifting beasts.

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