The Screengrab : joel and ethan coen

The Rep Report (August 1--5)

Phil Nugent — Thu, 31 Jul 2008 18:00:00 GMT

NEW YORK: Nobody can accuse Elliott Gould of having micromanaged his career to death. Gould scuffled for work for many years before 1970's M*A*S*H made him not just a star but a counterculture icon and a Time cover boy. Just a couple of years after his anointment by newsmagazine, bad career decisions and personal choices had left Gould with his head in a bad place and reputation for being not just borderline unemployable but, as Pauline Kael put it (not unaffectionately), an "anachronism." These days, Gould is regarded not as a superstar or a flake but a pretty solid pro--okay, maybe a flaky pro--and his best performances particularly the work he did for Robert Altman in M*A*S*H, The Long Goodbye, and California Split, hold up as well as anything done in front of a camera in the 1970s. (His Philip Marlowe in The Long Goodbye, once a lethal flop, is now widely remembered as one of the great comebacks of all time.) "Elliott Gould: Star for an Uptight Age (August 1--21) at the Brooklyn Academy of Music features all those pictures as well as Gould's first significant movie role, as one of the titular quartet in Paul Mazursky's 1969 satirical time capsule Bob & Carol & Ted & Alice. In an interview in the current issue of Stop Smiling that centers on California Split, Gould calls himself "a jazz actor", and in these musical, improvisationl performances, which have a tossed-off feeling that belies their technical daring and emotional depth, it's easy to see what he means. The program is padded out with other early-'70s pictures that mostly serve to chart the course by which Gould contrived to stay employed in movies between gigs with Bob and Paulie. (The big exceptions are the limper than limp I Love My Wife and the overblown, hollow Harry and Walter Go to New York, which don't serve any purpose whatsoever.) Getting Straight, one of Gould's biggest hits, is a campus-unrest flick directed by Richard (The Stunt Man) Rush that provides a taste of what a thinking-young-person's exploitation movie was like circa 1970. Busting (1974), an attempt to package law-and-order politics in a loose, sort-of-comic Gouldian package, wound up being most notable as the movie that taught Starsky and Hutch how to dress. And Ingmar Bergman's 1971 The Touch, a movie that did Gould no good in any department--it didn't do Bergman any favors either--is worth checking out if you're a Bergman completist or would like to see just why so many people thought that, by that point, Gould had already worn out his welcome.

Starting August 2 and running through most of the month, the Museum of Modern Art's "Collaborations in the Collection" series spotlights Joel and Ethan Cohen, a pair of filmmakers whose collaborative creator was kind of inevitable. But as the programming points up, the Coens have also made a virtue of repeatedly teaming up with those they've done good work with, including cinematographers Barry Sonnenfeld (Blood Simple, Raising Arizona, Miller's Crossing) and Roger Deakins (everything else, basically) as well as the composer Carter Burwell and such actors as John Goodman, Steve Buscemi, Jon Polito, and Frances MacDormand, whose collaboration with Joel Coen extended to matrimony.

CHICAGO: At the Gene Siskel Film Center, the 14th Annual Black Harvest International Festival of Film and Video --"The Midwest’s biggest and best celebration of the black experience on film, Black Harvest highlights talent from around the nation and around the world, with a special emphasis on our own Chicago-based filmmakers"--will run from August 1 through the 28th. On August 5, critic and interviewer Elvis Mitchell, last seen on the Turner Classic Movies series Under the Influence, where he barely managed to overcome his shock at hearing Quentin Tarantino confess that he has never seen the Judy Garland A Star Is Born, will swing by with a print of his new HBO film The Black List, Vol. 1 tucked under his arm, and the night after that will include a special screening of the monumental new Katrina documentary Trouble the Waters. A smaller but still very affecting documentary touched by Katrina, Faubourg Treme: The Untold Story of Black New Orleans, is also among the many feature films and shorts.

From August 2 through the 24th, the Siskel Center will host "Paradjanov the Magician", a celebration of the vibrantly colored, strange and moving work of the Soviet-Armenian director Sergei Paradjanov. It includes a new print of his masterpiece, Shadows of Our Fogotten Ancestors.

SAN FRANCISCO: Kent MacKenzie's The Exiles, a stunning, black and white semi-documentary look at a group of Native Americans drifting through a dazed, aimless existence in Los Angeles's Bunker Hill, was recently plucked from forgotten obscurity by some hardy restorers and, "presented by" Native American novelist Sherman Alexie and Charles Burnett, recently started making its way across the country thanks to Milestone, the same company that brought Burnett's Killer of Sheep back from the dead. It plays the Castro August 1 through the 7th.

BERKELEY: Pacific Film Archives' "Streets of No Return: The Dark Cinema of David Goodis" (August 1--23) boasts an impressive array of films inspired by the writings of the cult pulp writer. Although Goodis was American and many of the films included here were Hollywood productions, the best known titles are both French: Francois Truffaut's Shoot the Piano Player (1960), based on Goodis's Down There, which remains one of the freshest and most thrilling products of the New Wave, and Jean-Jacques Beinex's 1983 The Moon in the Gutter, which remains one of the ghastliest things ever brought into the world by the misguided will of man.

LOS ANGELES: August 1 and 2, the Los Angles County Museum of Art presents "Two Comedies by Pietro Germi", and they're the right two: the justly famous Divorce Italian Style (1961) and the even funnier follow-up Seduced and Abandoned (1964), both featuring the luscious comedienne Stefania Sandrelli. The only way to imagine a better package for a hot weekend would be if the museum would spring for a lemonade waterfall.

"Barringer82"'s YouTube Movie Montages

Phil Nugent — Mon, 05 May 2008 14:00:00 GMT

Steve Bryant at Reel Pop drew our attention to these beautifully assembled little montages by YouTube user "barringer82", who ought to be working for the Academy Awards people. They're like eating peanuts. "The Films of the 1970s" makes a case for that era as a time when actors who knew what the hell to do with a long, unbroken silent take, in particular Jack Nicholson and Al Pacino, ruled the world, and it feels so perfectly assembled, as if flows from one clip to the next in synch with the music and Peter Finch's big speech from Network, that we couldn't care less that Blow Out was actually released in 1981. (It also made us realize, for the first time ever, that one reason that Finch works so brilliantly in that part is his vocal resemblance to Franklin Delano Roosevelt. Before he actually appeared on screen, I thought the clip of him talking was from a fireside chat that FDR must have given after snacking on hash brownies.) "The Films of the 1980s" is remarkable for the way it captures what 75% of the population found delightful about that decade, with sneaking hints about why the rest of us experienced as a George A. Romero movie in 3-D Technicolor. (It goes on too long, but then so did the 1980s.) And "The Films of the 1990s" makes the second-best argument I know of for Magnolia as the key, unifying film of that decade. (The best argument for that has been made by myself, and I'm not sure I could ever get enough drinks in me again to repeat it.)

Barringer25 has also assembled video seminars on such directors as Stanley Kubrick, David Lynch, Quentin Tarantino, the Coen brothers, P. T. Anderson, Michael Mann (parts one and two), and Martin Scorsese (parts one and two.)

Rep Report (February 28 - March 6)

Phil Nugent — Wed, 27 Feb 2008 18:00:00 GMT

NEW YORK: Sunday, March 2 marks the seventy-fifth anniversary of King Kong's debut appearance in New York City, and to honor the event, Film Forum is running the 1933 classic for two matinees, one day only. Those attending the 1:00 P.M. screening are automatically eligible to stick around and participate in the Fay Wray Scream-alike Contest, to be judged by a crack panel of experts that includes Film Forum repertory program director Bruce Goldstein, film critic Elliott Stein, and Ms. Wray's actress daughter, Susan Riskin. One lucky, leather-lunged winner will receive a two-disc DVD set of the movie, a one-year membership to Film Forum, (trust me on this — if nothing else, it pays for itself!), and a romantic trip for two the top of the Empire State Building. Jeez, you'd think it would be thrill enough just to get to be in the same room as Elliott Stein...

Film Society of Lincoln Center's annual "Rendez-Vous with French Cinema 2008" (February 29 - March 9) kicks off with Claude Lelouch's Romain de gare with Fanny Ardent and Audrey Dana, introduced by the director. There are also new films by Sandrine Bonnaire, Claude Miller, Sophie Marceau, and — this sounds interesting — Fear(s) of the Dark, a black-and-white animated omnibus film that incorporates material from such comics artists as Charles Burns and Lorenzo Mattotti.

SAN FRANCISCO: "The Unabridged Coen Brothers" (February 28 - March 2) at the Castro was apparently assembled for the benefit of anyone who's just landed here from Mars and is curious about these fellows who just won the Oscar. Of course, it might also be useful to any Coen fans who see this as a fine time to have themselves a wallow. Includes Blood Simple, Raising Arizona, The Man Who Wasn't There, Fargo, Barton Fink, The Hudsucker Proxy, and O Brother Where Art Thou?, which, it says here, includes "Southern folklore, slapstick stunts, cinematic tributes, religious ritual, political satire, and social commentary." All that and dancing Klansmen too!

SEATTLE: The Grand Illusion Cinema brings back four of "the No-Nonsense Films of Phil Karlson in the '50s". Karlson was a specialist in hard-nosed, low-budget action noirs whose resume of grungily efficient little knuckle-busters makes Don Siegel look like Busby Berkeley. (After decades of scuffling from one small-time gig to the next, Karlson hit the jackpot with his next-to-last picture, the rabble-rousing 1973 blockbuster Walking Tall, which he had the foresight to own a piece of.) Starting February 29, the theater is showing the fifties films Five Against the House with Kim Novak and Brian Keith and The Brothers Rico with Richard Conte; on March 6, it trades them in for the Western Gunman's Walk and the newspaper melodrama Scandal Sheet with Broderick Crawford.

Paul Clark (Kinda) Liveblogs the Oscars

Paul Clark — Sun, 24 Feb 2008 21:30:00 GMT

Well, it's that time of year again, and unlike last year, I'll actually be posting here as the night goes on. While it's difficult to me to actually "live-blog" because my computer faces away from the television, I'll try to post something over every commercial break. Let's see how this goes. Hopefully I'll at least be more coherent than Harry Knowles usually is, but you never know.

4:30 PM- Just for the record, here's my complete list of predictions, so I won't be able to weasel my way out of them later and declare my predictive powers to be any more awesome than they actually are:

Best Picture: No Country for Old Men
Best Actor: Daniel Day-Lewis
Best Actress: Marion Cotillard
Best Supporting Actor: Javier Bardem
Best Supporting Actress: Tilda Swinton
Best Director: Joel and Ethan Coen
Best Original Screenplay: Juno
Best Adapted Screenplay: No Country for Old Men
Best Animated Feature: Ratatouille
Best Art Direction: There Will Be Blood (winner: Sweeney Todd)
Best Cinematography: There Will Be Blood
Best Costume Design: Atonement (winner: Elizabeth)
Best Documentary Feature: No End in Sight (winner: Taxi to the Dark Side)
Best Documentary Short Subject: Sari's Mother (winner: Freeheld)
Best Editing: The Bourne Ultimatum
Best Foreign Language Film: The Counterfeiters
Best Makeup: La Vie en Rose
Best Original Score: Atonement
Best Original Song: "Falling Slowly," Once
Best Animated Short: Peter and the Wolf
Best Live-Action Short: Tanghi Argentini (winner: The Mozart of Pickpockets)
Best Sound Editing: The Bourne Ultimatum
Best Sound Mixing: No Country for Old Men (winner: The Bourne Ultimatum)
Best Visual Effects: Transformers (winner: Golden Compass)

How will I fare? Stay tuned...

Preshow- Oh, great. Regis is hosting. Better than Joan and Melissa at least.

8:05- Cotillard is so hot. Just wanted to get that out there.

8:06- Host lady to Travolta: "You're not wearing a dress in honor of HAIRSPRAY." Come on, he's not Trey Parker.

8:08- Bardem: "seeking money AND revenge?" All right, did you SEE the movie?

8:10- How many times is Regis going to say "what's wrong with these people?"

8:13- Wow, Mickey Rooney's still alive, and more Yoda-like than ever.

8:13- JUNO: "the little movie that could." Way to go, Fox Searchlight marketing team.

8:23- Uh-oh, there's Hilary Swank. Nobody tell Nathaniel, OK? "People say you can play any kind of role." OK, WHAT? It's Hilary Swank, not Meryl Streep.

8:27- Remember this for next year, ABC- fewer random stars, more Bill Conti.

8:29- XAVIER Bardem? Come on, Regis, you've had time to practice your pronunciations.

8:30- FYI, I'll be boldfacing all the predictions I get right, in case you're keeping score at home.

8:33- Maybe they should hire Arnold to transport the Oscars every year. Would've saved them a big headache back in 2000.

8:34- Jack's next to Javier Bardem. Mothers, lock up your daughters...

8:36- "Oscar-nominated psychopathic killer movies." Wow, a Dorothy Hamill reference. You definitely don't get this from Whoopi.

8:38- NORBIT- "too often the Academy ignores movies that aren't good." OK, Oscar director, where's the Rick Baker cutaway shot? That's just sloppy, buds.

8:40- A stripper named Olympia Dukakis- forget Chigurh and Plainview, that's the most disturbing image we'll get tonight.

8:42- Spike Lee likes the black President joke. You're doing well, Jon.

8:44- Costume Design- I miss the models they had last year. Much better than the diagrams. Gah... ELIZABETH? Lots of costumes, but to what end? At least she kept it short.

8:51- Some of those production numbers are frightening, but none so much as accompanying the montage with Celine Dion. Classy wrap-up with Chaplin though.

8:53- Carell/Hathaway- must we really play the GET SMART theme? Hathaway's pretty smoking though. And Carell's clueless schtick still works. Yes... first correct prediction of the night. Go RATATOUILLE. Fun story too- Brad Bird is so cool.

8:57- Cutting from Heigl to Keri Russell? Is this a pregnancy-movie-themed edit? Yeesh. Also, settle down Heigl. But hey, LA VIE EN ROSE won. Go me. At least it wasn't frickin' NORBIT.

9:01- First song nominee- "Happy Working Song", quite possibly the first Oscar-nominated song with the lyric about scrubbing a toilet. Adams is a charmer, but did we really need to nominate 5 songs this year? 3 ENCHANTED songs seems like a lot of padding in my opinion. At least there's no production number behind her.

9:09- Stop trying so hard to be funny, Rock Dwayne. Yikes... THE GOLDEN COMPASS? Granted, it's the least terrible of the five movies, but the effects weren't all that stellar, except of course for the polar bear ripping the other polar bear's jaw off. That was awesome.

9:12- That's two bum predictions in a row for me. SWEENEY TODD sort of deserves it too though, so I won't complain.

9:14- Yes, Cate's awesome. But why not mention her cameo in HOT FUZZ?

9:17- Much as I love Casey Affleck's performance, this is the wrong category for him... Bardem- what other scene would they have picked? Hoffman, likewise... wow, that's a lot of applause for Holbrook. Could an upset happen? Nope, guess not. Also, I'm guessing Wilkinson will have an Oscar within the next decade. Nice quick speech, Bardem. Too bad most native English-speaking winners can't keep it that brief.

9:24- At least wasting our time with fake montages is more entertaining than wasting our time with real montages. Also, Pee Wee!

9:26- Holy crap, who's responsible for such prosaic and literal-minded lyrics? The little girl's good though, even if she does sound like she's auditioning for Teenage Idol. Still, this better not beat "Falling Slowly".

9:30- Sweet, it's Owen Wilson. He could use some more practice reading the TelePrompter though. Ick... THE MOZART OF PICKPOCKETS won. Probably the least of the nominees, at least in my estimation.

9:32- Wait, BEE MOVIE? Couldn't they afford RATATOUILLE? The bees montage was pretty amusing though. Go MADAME TUTLI-PUTLI! OK, PETER AND THE WOLF wins. I predicted this, but that doesn't mean I'm happy about it.

9:36- Alan Arkin rules. Nice little speech there- don't know if he wrote it, but he made it his own. Hope you were watching folks, you've just watched Ruby Dee's entire performance in AMERICAN GANGSTER. And wow, it must've been tough to find a non-foulmouthed scene for Amy Ryan. Yesssssssss... Tilda wins. Righteous. She's so cool. Much better speeches this year all around, I'd say.

9:45- "The always fantastic Jessica Alba." Unless she's trying to act, that is. At least she's only presenting the Sci-Tech awards, fitting since I'm not entirely convinced she's not a special effects creation herself.

9:47- Brolin, you were robbed bud. At least you got a Muriel Award this year. Pretty obviously, it goes to the Coens. We'll be seeing plenty of them tonight, methinks. "We've only adapted Homer and Cormac McCarthy." Nice.

9:50- Hey, there's Sid Ganis. Time to get myself a drink. Wait, MICHAEL BAY's in the Academy? That explains so much.

9:53- This was a pretty fun production number in the movie, but it's really not that great a song. Chenoweth actually sounds quite a bit like Amy Adams, although she's a more polished singer to be sure. All these dancers look kind of dumb outside the context of the movie, I gotta say.

10:02- Angelina Jolie baby jokes never get old. Right? RIGHT???

10:03- Seth Rogen and Jonah Hill- awesome. Way to liven up the Sound Editing category. I'm calling BOURNE for this one, but who knows? Damn, I got it. How about that? And see, these are the people who should be getting flustered, not the professional actors.

10:06- Oh sweet, "Halle" and "Dame Judi" are doing the Sound Mixing category too. I'm guessing this'll be NO COUNTRY, although maybe Kevin O'Connell might get finally get his for TRANSFORMERS. Nope, this one's BOURNE too. Cool, I guess. And nice shirt, buddy.

10:10- Wait, Best Actress already? Go Carice Van Houten! Oh, never mind. Whitaker's gotten much better at public speaking since last year. Look at Cate cringe- she knows how terrible the movie is. But it's not like she'd say no. Christie, always classy. And you know what would be awesome? If they could use a Cotillard clip where we hear her real voice for more than a second. Wow, Cate was pretty happy about Cotillard winning. And since I predicted her, so am I. I mean, just look at her up there- she's glowing. Only question is whether an American can take home Best Actor, since otherwise the foreign actors are sweeping.

10:19- This commercial lead-in was brought to you by Wii.

10:20- Farrell presents "Falling Slowly." Because, you see, he's Irish, and the movie's Irish, so why not? Sounds good though. Also, nice music shop motif in the background with the guitars and all. At least there aren't any slow-motion dancers. But why the orchestra?

10:24- Come on Jack, try a little harder to sell what's been written for you. You're an actor, right?

10:26- Best Picture montage- yikes, some of these HURT. I won't even say which ones, you know the ones you hate.

10:29- Best Editing. I bet BOURNE, but I'm hoping for NO COUNTRY, just to see what'll happen. Alas, Roderick Jaynes' Oscar will have to wait.

10:32- Nice jab at IMDb, Jon. And holy NECKLACE, Nicole! Cool montage for Robert Boyle- pretty impressive filmography, I gotta say, and looking darn good for 98. I hadn't even heard who had gotten the honorary award, but now that I know I must say they've made a fine choice.

10:43- Holy crap, I forgot Andrzej Wajda's new film was up for Best Foreign-Language Film. And of course the WWII movie wins. Yeesh, that was easy.

10:47- Oh Jesus, THIS song? Boooooooooo-ring. Didn't they have a "Blame Canada"-style spoof song they could've nominated? It would've livened things up, that's for sure. And they say this guy's name is John McLaughlin? I was sort of hoping it'd be the dude from The McLaughlin Group instead of yet another sensitive, blandly hunky singer. If this song beats "Falling Slowly" I'm throwing my shoes at my television. So if the liveblogging stops abruptly, you'll know why.

10:50- This is one of your favorite categories, Travolta? Funny, it's one of my least favorites, since they usually pick sentimental junk. Naturally, I will except "It's Hard Out Here For a Pimp." WHEW, thank GOD. I was afraid I'd have to use my next Screengrab paycheck to replace my TV.

10:57- A propos of absolutely nothing- I like Stewart well enough, but am I the only one who'd welcome an Oscar ceremony hosted by "Halle" and "Dame Judi"?

10:58- Wow, Stewart just invited Marketa Irglova back to finish her speech. Extremely classy of him. I sort of take back what I just said about Halle and Dame Judi.

11:00- OK Cameron, have you seen SUNRISE? Doesn't sound like it. Almost all these cinematography nominations are awesome- THERE WILL BE BLOOD takes it. Sorry Deakins. And way to recognize everybody else.

11:03- "Two time Academy Award nominee Hilary Swank"- somewhere, Annette Bening cringes.

11:07- Why can't they put the necrology in chronological order by the dates they passed away? By saving the "biggest name" for last, it's like they're making a value judgment on whose death is most notable. For example, I like Heath Ledger, but how is career more worthy of remembrance than Ousmane Sembene? Just a thought.

11:10- This category sucks without THERE WILL BE BLOOD. Predicting ATONEMENT, rooting for RATATOUILLE. And ATONEMENT it is. Wow, I'm actually doing pretty darn well tonight.

11:13- See, we can't bring the soldiers home, or they'd have to come up with a different gimmicky Oscar presentation. The winner is... FREEHELD, about homosexual soldiers. Had I known that I would've predicted that instead of going with the cutest-sounding name.

11:17- I've only seen two of these- SICKO and NO END IN SIGHT. NO END IN SIGHT is the better of the two, but LAKE OF FIRE blows them both away. So does THE KING OF KONG, for that matter. Of course, can you imagine the documentary branch honoring a movie about video games? Well, looks like I'm wrong here too- TAXI TO THE DARK SIDE takes the award.

11:25- Harrison Ford walks onstage to Indiana Jones theme- too obvious? WAKE UP, HARRISON! Wait, think he's drunk? Please MICHAEL CLAYTON... Please MICHAEL CLAYTON... nope, JUNO. Well, that's a point for me in the Oscar contest anyway. Grumble grumble... also, that tattoo is super-classy. I bet Tom Hanks has one just like it.

11:32- Helen Mirren just said "cojones"- she's awesome. Awesome pick for the Day-Lewis clip- powerful and bravura but not the "milkshake" bit everyone knows by heart. Who's that with Viggo? And of course Day-Lewis wins. What else is there to say but "DRAAAAAAAAAAAAAAINAGE"!!!!!!!!! "The handsomest bludgeon in town"- well put, man. I wonder what he'll be doing next?

11:44- What if the Coens DIDN'T win??? Guess we'll never find out. Whew... I could listen to the Coen brothers talk all day. Some part of me wants to see "Henry Kissinger: Man on the Go" included on the NO COUNTRY DVD.

11:46- Should be NO COUNTRY. Would be awesome if it was THERE WILL BE BLOOD as well, but I doubt it. As I suspected... NO COUNTRY it is. Now we get more of the Coens onstage, which is fine by me. And hey, it's not even midnight yet! Rudin: "with the opportunity for making movies comes the responsibility of making them good." Someone please relay this message to Joel Schumacher.

Well, everything turned out more or less as expected- a solid Oscar ceremony for a year when the very possibility of a ceremony was long in doubt. Good job keeping it moving along, while still finding time to bring back Marketa Irglova, a truly gracious move by Stewart and probably the highlight of the night for me.

No big surprises, but also no bad surprises, and I'll take that. Looks like I got 17 out of 24 categories right. Hope you did as well or better, unless of course you're in the same Oscar pool I'm in this year.

Hope you've enjoyed reading. Sorry I wasn't funnier. Good night.

Paste Magazine's Art House 100

Phil Nugent — Tue, 05 Feb 2008 18:00:00 GMT

Paste magazine has published its "Art House Powerhouse 100", devoted to listing "the people behind the movies we love." The feature is self-consciously designed to serve as an alternative to the other "power lists" that such magazines as Vanity Fair and Entertainment Weekly get such a thrill out of assembling, with Paste's list striving to determine, "Who are the power players in the world of quality cinema? What individuals and organizations make intelligent, well-crafted movies and have the profile, financial resources and/or critical esteem to attract discerning audiences? In short, we looked for those at the intersection of art and commerce who make independent film the viable and sustainable industry that we’ve come to enjoy." After that buildup, the magazine proceeds to serve up a list of names that for the most part will not be unfamiliar to many people with a passing interest in high-profile moviemaking a little further off the beaten track than say. Transformers. But if few of them have been starving for media attention, most of them are certainly deserving of a pat on the back. The lists of directors (which includes Martin Scorsese, the Coen brothers, Paul Thomas Anderson, David Lynch, David Cronenberg, Todd Haynes, Tim Burton, Guillermo del Toro, Michael Winterbottom, Stephen Frears, and comeback kid Sidney Lumet) and actors (among them Naomi Watts, Viggo Mortensen, Laura Linney, Forest Whitaker, Philip Seymour Hoffman, Cate Blanchett, Charlotte Gainsbourg, Don Cheadle, Daniel Day-Lewis, Cillian Murphy, Ryan Gosling, Johnny Depp, and Javier Bardem), can be found at the website. The hard copy, available at your local newstand, also tots up noteworthy cinematographers (such as Roger Deakins, the hard-working D.P. on No Country for Old Men, In the Valley of Elah, and The Assassination of Jesse James by the Coward Robert Ford) and producers, as well as listing the magazine's favorite film festivals.