More Movies to Watch at Home: Recommendations from The Washington Post, AWFJ, and Rogerebert.com

Posted on March 24, 2020 at 10:57 am

Great recommendations for movies to watch at home from my friends and colleagues:

The Washington Post:

This is a great list, with Martin Scorsese’s quirky comedy “After Hours,” my favorite film of last year, “The Last Black Man in San Francisco,” and the under-seen documentary that is a powerful reminder of what connects all humans, “Life in a Day.”

The Alliance of Women Film Journalists:

This is a wildly varied assortment, reflecting the wide range of the AWFJ’s members. It includes Drew Barrymore’s roller derby film “Whip It,” the Ruth Bader Ginsburg documentary “RBG,” the zombie comedy “Shaun of the Dead,” and Barbra Streisand’s Oscar-winning performance in “Funny Girl.”

Rogerebert.com editor Brian Tallerico has put together all of the resources for watching the films that Roger Ebert certified as “great.” Try “Diva,” “M,” “A Hard Day’s Night,” “Mr. Hulot’s Holiday,” and “On the Waterfront.”

And the contributors to rogerebert.com have also suggested some of our favorites, including one of the craziest movies of all time, “Madame Satan,” which we showed here in Washington as a part of our pre-Code series.

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Film History For Your Netflix Queue Movie Mom’s Top Picks for Families Not specified

100 Years of Black Film

Posted on January 2, 2020 at 12:00 pm

Copyright 2020 Soda Pop Graphics

This outstanding new history of black filmmakers is available for free! It includes everything from Hollywood classics (Hattie McDaniel and Sidney Poitier as the first black performers to win Oscars) to the unsung innovators like Oscar Micheaux, who responded to the racism of D.W. Griffith’s “The Birth of a Nation” with “Within Our Gates, the pioneers of the Blaxploitation era, and Barry Jenkins’ “Moonlight” winning the Best Picture Oscar. The #Oscarssowhite protests, Motown’s Berry Gordy’s films like “Lady Sings the Blues” and “The Bingo Long Traveling All-Stars and Motor Kings,” and Tyler Perry establishing his own (wildly successful) studio. Highly recommended!

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Bonham’s Auction: Hollywood Treasures from Mitzi Gaynor, William Wellman, and More

Posted on December 8, 2019 at 9:59 pm

Bonham’s has a dazzling array of Hollywood treasures for sale in their latest auction, including Mitzi Gaynor’s costume collection, artifacts from “Gone With the Wind” (you can get an annotated screenplay, costume sketch, Scarlett’s necklace, Rhett’s vest, or even Margaret Mitchell’s contract with MGM!), and the bodice from Theda Bara’s “Cleopatra” costume! There’s an “Adventures of Robin Hood” book signed by the cast, Paul Henreid’s jacket from “Casablanca,” a dress worn by Barbara Stanwyck and Teresa Wright in two different films, a vest worn by Bob Hope in “The Princess and the Pirate,” and a prop poster for “Springtime for Hitler” from “The Producers.” There’s even a pair of Darth Vader gloves from the original “Star Wars” (now known as “A New Hope”).

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Trailer: The Movies That Made Us on Netflix

Posted on December 3, 2019 at 6:03 pm

The only think I love to watch as much as a great movie is some behind the scenes looks at great movies. The films in “The Movies That Made Us,” a new Netflix series that is a spin-off of their popular “The Toys That Made Us,” may not be “great,” but they are deliciously watchable and deeply beloved, including “Home Alone,” “Die Hard,” and “Dirty Dancing.”

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Behind the Scenes Film History Movie History

Scout Tafoya on Martin Scorsese and “Late” Movies

Posted on November 24, 2019 at 8:00 am

My friend and fellow critic Scout Tafoya has written my favorite piece of movie criticism I’ve read in a long time. I have mixed feelings about Martin Scorsese’s new epic film, “The Irishman,” but the part I liked best is exactly what he describes here.

Fear of death and refusal of old age in movie-making are as old as the moving image itself. Movie stars date appallingly young, and directors sew bone-deep terror of mortality into their images. Film critic André Bazin famously defined the ontology of cinema according to its “mummy complex,” its embalming of time and space. And true to form, something uniquely bizarre occurs when film directors near the death at which they’ve been thumbing their nose by preserving slices of life for one and all to experience. The “late film” has become a class unto itself: what happens to your work if you know this will be one of the last times you point a camera at someone and yell, “Action!”?

It’s a pleasure to read, so wise about movies and about life.

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