Matt Zoller Seitz

1 month ago | texashighways.com | Matt Zoller Seitz |Tyson Bird

Houston’s River Oaks Theatre opened in 1939, and over the next 75 years the elegant art deco movie house passed through as many hands as an artifact in an Indiana Jones picture. Its penultimate owner, Landmark Cinemas, turned it into an art house and repertory venue that occasionally screened controversial films including Pier Paolo Pasolini’s X-rated Marquis de Sade adaptation Salo, which prompted Houston police to charge the manager with violating obscenity laws.

1 month ago | vulture.com | Matt Zoller Seitz

An actor who barely changed his look but constantly transformed himself. Hackman on the set of A Bridge Too Far in 1976. Hackman on the set of A Bridge Too Far in 1976. Gene Hackman was a virtuoso of the smile. When the corners of his mouth curled up, this split-second pause before the unveiling told you something thrilling was about to happen, but he was so inventive that you never knew quite what.

2 months ago | rogerebert.com | Matt Zoller Seitz

"Watership Down," Martin Rosen's 1978 adaptation of Richard Adams' novel about rabbits traveling the English countryside to find a new homeland after their warren is marked for destruction, has been a constant in my life since I first saw it as a child. And it has become an increased source of comfort as I've grown older. Recently my wife Judith, who admires the film as much as I do, has taken to calling it up on the Max platform at night as visual comfort food while going to sleep.

2 months ago | rogerebert.com | Matt Zoller Seitz

I was watching a documentary the other night-I'm not going to say which one here, because it was good and intelligent overall, and the filmmakers might be reading this-and got annoyed immediately because it was steeped in the same storytelling cliches as so many other documentaries made nowadays.

2 months ago | ecartelera.com | David Rooney |Matt Zoller Seitz |Tim Grierson |Peter Bradshaw

Fuimos dos apasionados de Drácula y los vampiros de todos los tiempos. La película decae enormemente tras la llegada del protagonista al castillo. Muy pocos actores en el reparto, muy pocos exteriores. Llega a parecer una obra teatral. Los personajes van perdiendo interés según pasa la película. Las partes que son más fieles al Nosferatu original se ve venir el desenlace con mucha facilidad. Las aportaciones a la trama nuevas son muy ferragosas. Cómo las relaciones del triángulo protagonista.