Where’s the Fun in This Family Dysfunction?

Jonathan Demme won the 1991 Academy Award for Best Director, for The Silence of the Lambs. He directed Tom Hanks to the 1993 Academy Award for Best Actor, for Philadelphia. He’s had any number of other critical and commercial successes as a movie director, with concert films, political documentaries, big-budget remakes and indie-style films. Now Read More

Three Fearless Oscar Predictions: Go Clint, Dev and Jonathan!

As much as we loved seeing the inauguration of Barack Obama yesterday, our long national nightmare doesn’t officially end until tomorrow morning. After what feels like eight years, the Academy Award nominations will finally (finally!) be announced, putting an end to the endless season of speculation. In lieu of any predictions–be honest, how many times Read More

Demme, Directors To Talk at IFC Series

IndieWIRE news reports that the Woodstock Film Festival and the IFC Center are partnering to present three screenings as part of the Stranger Than Fiction series. The mini-fest is filmmaker/programmer Thom Powers’ weekly screenings of hard-to-find documentaries and subsequent Q&As with their filmmakers. On consecutive Tuesdays in May at the IFC, directors Barbara Kopple Read More

Letters

My Favorite Merkin

To the Editor:

Thanks for Suzy Hansen’s fine piece on Daphne Merkin [“Vagina Mama-Log,” Feb. 27], but in addition to the many references to Ms. Merkin’s fiction, essays and reviews, etc., allow me to recall her introduction to the late Janet Hobhouse’s exquisite novel, The Furies, about which Ms. Merkin Read More

What’s the Fuss About Remakes? The Truth About Charlie Is a Lark

Jonathan Demme’s The Truth About Charlie , from a screenplay by Mr. Demme, Steve Schmidt and Jessica Bendinger, has been widely panned for presuming to remake Stanley Donen’s Charade (1963), from a screenplay by Peter Stone, with Mark Wahlberg and Thandie Newton in the roles originally played by Cary Grant and Audrey Hepburn. Indeed, I Read More

Eminem’s Debut: A Hip-Hop Rocky

The acting debut of repugnant rap star Eminem in a thing called 8 Mile can be summed up in one sentence: If he coulda he woulda, but he cain’t so he ain’t. This brainless debacle, tailored for the insurmountable limitations of its star attraction, was headed for vehicular homicide before it left the factory. Who Read More