I dont yell at people. I just shatter them emotionally and make them cry. Meet Tony Calamari. Freshman year at Mallard High does not begin well. For one thing, too many adults are telling him what to do, and there are too many annoying kids he has to spend four more years with. Like the last nine years werent bad enough (yes, hes counting kindergarten). If only he could ignore as many people as possible, but no one will let him. Which is just typical. Then one day he finds himself assigned to a classroom where maybe, just maybe, he might begin to like high school in spite of himself.
(Screen World). Movie fans eagerly await each year's new edition of Screen World , the definitive record of the cinema since 1949. Volume 54 provides an illustrated listing of every American and foreign film released in the United States in 2002, all documented with more than 1000 photographs. The 2003 edition of Screen World features such notable films as Chicago , the Academy Award winner for Best Picture; Martin Scorsese's Academy Award-nominated Gangs of New York ; The Pianist , featuring the surprise Academy Award winners Adrien Brody for Best Actor and Roman Polanski for Best Director; Spider-Man , the highest grossing film of 2002; The Hours with Academy Award winner for Best Actress Nicole Kidman; and About Schmidt starring Academy Award nominees Jack Nicholson and Kathy Bates. As always, Screen World's outstanding features include: photographic stills and shots of the four Academy Award-winning actors as well as all acting nominees; a look at the year's most promising new screen personalities; complete filmographies cast and characters, credits, production company, date released, rating and running time; and biographical entries a priceless reference for over 2,400 living stars, including real name, school, and date and place of birth. Includes over 1,000 photos! "The enduring film classic." Variety
Featuring every review Ebert wrote from January 2001 to mid-June 2003, this treasury also includes his essays, interviews, film festival reports, and In Memoriams, along with his famous star ratings.
Now that April is officially going out with hot-boy-next-door Matt, she's head over heels. She loves how he makes her feel . . . most of the time. But one minute he's sweet and attentive, and the next, it's as if he's forgotten they're together. April just wants things to be great between them, like when they started going out. Now as summer approaches, she has to decide if she'll go to camp with her best friends, Billy and Brynn, or stay home and be with Matt. April wishes she could do it all―keep up with friends, have summer adventures, please her annoying family, and save her new relationship. But with Matt's affection running so hot and cold, she has some tough decisions to make.
Existing critical traditions fail to fully account for the impact of Austrian director, and 2009 Cannes Palm d'Or winner, Michael Haneke’s films, situated as they are between intellectual projects and popular entertainments. In this first English-language introduction to, and critical analysis of, his work, each of Haneke’s eight feature films are considered in detail. Particular attention is given to what the author terms Michael Haneke’s ‘ethical cinema’ and the unique impact of these films upon their audiences. Drawing on the moral philosophy of Immanuel Kant and Stanley Cavell, Catherine Wheatley, introduces a new way of marrying film and moral philosophy, which explicitly examines the ethics of the film viewing experience. Haneke’s films offer the viewer great freedom whilst simultaneously imposing a considerable burden of responsibility. How Haneke achieves this break with more conventional spectatorship models, and what its far-reaching implications are for film theory in general, constitute the principal subject of this book.
A collection of some of the Pulitzer Prize–winning film critic’s most scathing reviews, from Alex & Emma to the remake of Yours, Mine, and Ours. From Roger’s review of Deuce Bigalow: European Gigolo (0 stars): “The movie created a spot of controversy in February 2005. According to a story by Larry Carroll of MTV News, Rob Schneider took offense when Patrick Goldstein of the Los Angeles Times listed this year's Best Picture nominees and wrote that they were 'ignored, unloved, and turned down flat by most of the same studios that . . . bankroll hundreds of sequels, including a follow-up to Deuce Bigalow: Male Gigolo, a film that was sadly overlooked at Oscar time because apparently nobody had the foresight to invent a category for Best Running Penis Joke Delivered by a Third-Rate Comic.' Schneider retaliated by attacking Goldstein in full-page ads in Daily Variety and the Hollywood Reporter. In an open letter to Goldstein, Schneider wrote: “Well, Mr. Goldstein, I decided to do some research to find out what awards you have won. I went online and found that you have won nothing. Absolutely nothing. No journalistic awards of any kind . . . . Maybe you didn’t win a Pulitzer Prize because they haven’t invented a category for Best Third-Rate, Unfunny Pompous Reporter Who’s Never Been Acknowledged by His Peers . . . .” Schneider was nominated for a 2000 Razzie Award for Worst Supporting Actor but lost to Jar-Jar Binks. But Schneider is correct, and Patrick Goldstein has not yet won a Pulitzer Prize. Therefore, Goldstein is not qualified to complain that Columbia financed Deuce Bigalow: European Gigolo while passing on the opportunity to participate in Million Dollar Baby, Ray, The Aviator, Sideways, and Finding Neverland. As chance would have it, I have won the Pulitzer Prize, and so I am qualified. Speaking in my official capacity as a Pulitzer Prize winner, Mr. Schneider, your movie sucks.” Roger Ebert’s I Hated Hated Hated This Movie, which gathered some of his most scathing reviews, was a bestseller. This collection continues the tradition, reviewing not only movies that were at the bottom of the barrel, but also movies that he found underneath the barrel.
A clear-eyed, emotionally honest debut about a thirtysomething woman forced to redefine her entire world after her young marriage falters, Love or Something Like It proves we can grow up at any age. When Lacey Brennan meets Toby, a sweet and talented comedian, she impulsively moves across the country to be with him in Los Angeles. Lacey is unsure of what she is looking for out west–love? a new career? an escape from her fractured family?–but is reassured when Toby proposes on her thirtieth birthday. “I was thirty and I finally knew what I was doing,” she says. In California, which Lacey calls “the edge of the earth,” she has the giddy, anticipatory feeling that anything can happen–opportunity looms large, and her life may yet turn out the way she wants it to. But soon in her marriage with Toby, from their awkward honeymoon in Paris to their desperate attempts to build careers, Lacey knows that something is wrong. Toby, unemployed, becomes a permanent fixture on the couch, and things are no better at Lacey’s TV job, where a pit bull stalks her, colleagues tyrannize her, and her boss hits on her. Meanwhile, her twin brother has dropped off the face of the earth, and Lacey begins to wonder whether she and Toby should start a family if she can’t even figure out her own. It is only after Lacey has given up on both L.A. and love that she gets an unexpected shot at happiness. Rich with wry humor and wisdom, Deirdre Shaw’s novel deftly portrays a relatable, unforgettable character in Lacey Brennan, who, after a five-year quest for love and belonging, finds she must live in the moment in order to understand her past and face her future.
Providing a format that engages students to discuss real world issues, this book features seventy-five video clips from recent movies you can use to illustrate topics, including summaries of the movie and the clip, start-stop times, and Scripture references.