Near the beginning of the Road Warrior there is a scene in which Mel Gibson's character eats dog food.
It is a perfect moment, a beautiful moment, a completely defining moment — a pause in the post-apocalyptic action where the writers gave us everything we needed to know about Gibson's Max Rockatansky in one, long, wordless scene. And it was a moment that — watching the movie at likely far too young an age on some long-gone Saturday night at the drive-in — messed me up for life.
"Shadow Dancer," is the name of the new film from James Marsh. The director won an Oscar for his 2008 documentary, "Man on a Wire," and his film, "Project Nim," was also a documentary winner at Sundance. But his latest is a fictional film based on very real events, the bloody civil war in Northern Ireland known as The Troubles. Pat Dowell has more.
Gillian Flynn is a very nice person who writes books about very unpleasant people. Her suspenseful, best-selling mystery novel Gone Girl is told from the perspective of Nick and Amy, a couple who are as unreliable as narrators as they are as spouses.
Since Flynn's name, Gillian, is just one letter short of "Gilligan," we've invited her to answer three questions about the classic TV series Gilligan's Island.
A child of the '60s and '70s, Guadalajara-born director Guillermo del Toro has been a fan of the Japanese kaiju film tradition since he was a kid. His latest movie, Pacific Rim, is his passion project and homage to the genre.
Credit Warner Bros. Pictures
The Jaegers of del Toro's Pacific Rim are inspired by the mecha tradition in Japanese cinema.
From the audience-pleasing Hellboy to the critically acclaimed Pan's Labyrinth, Guillermo del Toro's movies are chock-full of mystical, often terrifying creatures. Now the Mexico-born director has made a big-budget entry in the genre that helped define his fascination with the monstrous: the Japanese kaiju films of the '60s.
Sebastian Silva's 2009 film The Maid examined the physical and psychological demands of working as a nearly indentured live-in housekeeper, and the toll taken by more than 20 years in the same household.
Perhaps in part because Silva based the film on his childhood growing up in Santiago, Chile, the approach to a subject rife with issues of social class was more personal than overtly political.