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Groupthink doesn't live here.

March 06, 2018

Divide and Conquer — Why Does the U.S. Hate Peace?

Give peace a chance, the song urges.  Rall

But the United States won’t have it.

Olympic diplomacy seems to be working on the Korean peninsula. After a pair of South Korean envoys visited Pyongyang, they issued a promising communiqué. “The North Korean side clearly stated its willingness to denuclearize,” the statement said. Considering that the Korean crisis and a derpy emergency management official had Hawaiians jumping down manholes a few months ago, this news comes as a relief.

Then comes the rub. The South Korean statement continued: “[North Korea] made it clear that it would have no reason to keep nuclear weapons if the military threat to the North was eliminated and its security guaranteed [my emphasis].”

In other words, the DPRK is saying — reasonably — we’ll get rid of our nukes but only if you promise not to invade us. That guarantee would have to be issued by two countries: South Korea and the United States.

This would directly contradict long-standing U.S. foreign policy, which clearly and repeatedly states that the use of military force is always on the table when we don’t get our way in an international dispute.

Kim Jong-On has good reasons to be afraid of us. In a speech to the UN President Trump threatened to “totally destroy” North Korea. President George W. Bush declared them a member of the “Axis of Evil”; we invaded and currently occupy Iraq, one of the two other supposed Evildoers. After deposing and enabling the execution of Iraq’s president. Last week Bush’s UN ambassador John Bolton published a legal argument for nuking North Korea without provocation.

Believe it or not, this is the soft side of U.S. foreign policy.

For decades South Korea has tried to deescalate its relationship with the North, not infrequently expressing its desire to end formal hostilities, which legally never ended after the Korean War, and move toward the long-term goal of a united Korea under a single government. And for decades the United States has stood in the way, awkwardly trying to look reasonable as it opposes peace. “We do not seek to accelerate reunification,” a State Department spokesman said recently.

To say the least.

“South-North talks are inextricably related to North Korea-United States relations,” South Korean President Kim Dae Jung said in 2001, after Bush canceled dialogue with the North. The South, dependent on more than 20,000 U.S. troops stationed along its northern border, was forced to suspend reunification talks too.

The Reagan Administration pressured its South Korean ally to break off reunification talks in 1985.

Nixon did the same thing in 1974. After Nixon’s resignation later that year, President Gerald Ford opposed a UN resolution to demilitarize the border by withdrawing U.S. troops.

Even Mr. Reasonable, Barack Obama, refused to listen to South Koreans who want peace (and to visit long-lost relatives in North Korea). Celebrating the 60th anniversary of the Korean War Armistice, Obama threatened to loose the dogs of war: “The United States of America will maintain the strongest military the world has ever known, bar none, always. That is what we do.” What Obama would not do was allow North and South Korea to sit down and work out their differences. Before talks, Obama said, North Korea would have to denuclearize. After which, of course, there would be no need for talks because, hey, regime change is fun!

Why, a sane person might ask at this point, would U.S. policymakers want to risk World War III over two countries that repeatedly say they want to make peace and get back together?

For my money, a 2007 analysis by the geopolitical thinktank Stratfor comes closest to explaining what’s really going on inside the Beltway: “The basic global situation can be described simply. The United States has overwhelming power. It is using that power to try to prevent the emergence of any competing powers. It is therefore constantly engaged in interventions on a political, economic and military level. The rest of the world is seeking to limit and control the United States. No nation can do it alone, and therefore there is a constant attempt to create coalitions to contain the United States. So far, these coalitions have tended to fail, because potential members can be leveraged out of the coalition by American threats or incentives.”

The U.S. is the Great Global Disruptor. “As powers emerge, the United States follows a three-stage program. First, provide aid to weaker powers to contain and undermine emerging hegemons. Second, create more formal arrangements with these powers. Finally, if necessary, send relatively small numbers of U.S. troops to Eurasia to block major powers and destabilize regions.” For example, Iran is the emerging hegemon in the Middle East. The U.S. undermines Iran with trade sanctions, props up rivals like Saudi Arabia with aid, and deploys U.S. troops next door in Afghanistan and Iraq.

Similarly the U.S. keeps China off-balance by propping up Taiwan and setting up new U.S. bases in the region. We play India against Pakistan, Europe against Russia.

A united Korea would create a new power center, potentially a new economic rival, to the U.S. in the Pacific Rim. So the U.S. uses threats (“totally destroy”) against the North and incentivizes the South (free border security).

It would almost be funny if it wasn’t so sick. Here’s to the day the two Koreas see through us.

(Ted Rall’s (Twitter: @tedrall) brand-new book is “Meet the Deplorables: Infiltrating Trump America,” co-written with Harmon Leon. His next book will be “Francis: The People’s Pope,” the latest in his series of graphic novel-format biographies. Publication date is March 13, 2018. You can support Ted’s hard-hitting political cartoons and columns and see his work first by sponsoring his work on Patreon.)

March 05, 2018

The 2018 Academy Award Winners — Full List


Best Picture: "The Shape of Water" 

Director: Guillermo del Toro —"The Shape of Water"

Actor: Gary Oldman — "Darkest Hour" 

Actress: Frances McDormand — "Three Billboards Outside Ebbing, Missouri" 

Supporting Actor: Sam Rockwell —"Three Billboards Outside Ebbing, Missouri"   

Supporting Actress: Allison Janney "I, Tonya" 

Original Screenplay: "Get Out" 

Adapted Screenplay: "Call Me By Your Name"

Foreign Language Film: "A Fantastic Woman" 

Animated Feature: "Coco" 

Visual Effects: "Blade Runner 2049"

Film Editing: "Dunkirk" 

Animated Short: "Dear Basketball" 

Live Action Short: "The Silent Child" 

Documentary Short: "Heaven Is a Traffic Jam on the 405"  

Score: "The Shape of Water"

Song: "Remember Me" from "Coco" 

Production Design: "The Shape of Water" 

Cinematography: "Blade Runner 2049"

Costume Design: "Phantom Thread"

Makeup and Hairstyling: "Darkest Hour" 

Documentary Feature: "Icarus" 

Sound Editing: "Dunkirk" 

Sound Mixing:"Dunkirk"

February 18, 2018



CALL ME BY YOUR NAME Emilie Georges, Luca Guadagnino, Marco Morabito, Peter Spears
DARKEST HOUR Tim Bevan, Lisa Bruce, Eric Fellner, Anthony McCarten, Douglas Urbanski
DUNKIRK Christopher Nolan, Emma Thomas
THE SHAPE OF WATER Guillermo del Toro, J. Miles Dale
 · WINNER: THREE BILLBOARDS OUTSIDE EBBING, MISSOURI Graham Broadbent, Pete Czernin, Martin McDonagh

DARKEST HOUR Joe Wright, Tim Bevan, Lisa Bruce, Eric Fellner, Anthony McCarten, Douglas Urbanski
THE DEATH OF STALIN Armando Iannucci, Kevin Loader, Laurent Zeitoun, Yann Zenou, Ian Martin, David Schneider
GOD’S OWN COUNTRY Francis Lee, Manon Ardisson, Jack Tarling
LADY MACBETH William Oldroyd, Fodhla Cronin O’Reilly, Alice Birch
PADDINGTON 2 Paul King, David Heyman, Simon Farnaby
 · WINNER: THREE BILLBOARDS OUTSIDE EBBING, MISSOURI Martin McDonagh, Graham Broadbent, Pete Czernin

THE GHOUL Gareth Tunley (Writer/Director/Producer), Jack Healy Guttmann & Tom Meeten (Producers)
 · WINNER: I AM NOT A WITCH Rungano Nyoni (Writer/Director), Emily Morgan (Producer)
JAWBONE Johnny Harris (Writer/Producer), Thomas Napper (Director)
KINGDOM OF US Lucy Cohen (Director)
LADY MACBETH Alice Birch (Writer), William Oldroyd (Director), Fodhla Cronin O’Reilly (Producer)

ELLE Paul Verhoeven, Saïd Ben Saïd
FIRST THEY KILLED MY FATHER Angelina Jolie, Rithy Panh
 · WINNER: THE HANDMAIDEN Park Chan-wook, Syd Lim
LOVELESS Andrey Zvyagintsev, Alexander Rodnyansky
THE SALESMAN Asghar Farhadi, Alexandre Mallet-Guy

CITY OF GHOSTS Matthew Heineman
ICARUS Bryan Fogel, Dan Cogan
JANE Brett Morgen, Bryan Burk

 · WINNER: COCO Lee Unkrich, Darla K. Anderson
LOVING VINCENT Dorota Kobiela, Hugh Welchman, Ivan Mactaggart
MY LIFE AS A COURGETTE Claude Barras, Max Karli

BLADE RUNNER 2049 Denis Villeneuve
CALL ME BY YOUR NAME Luca Guadagnino
DUNKIRK Christopher Nolan
 · WINNER: THE SHAPE OF WATER Guillermo del Toro

GET OUT Jordan Peele
I, TONYA Steven Rogers
LADY BIRD Greta Gerwig
THE SHAPE OF WATER Guillermo del Toro, Vanessa Taylor

THE DEATH OF STALIN Armando Iannucci, Ian Martin, David Schneider
MOLLY’S GAME Aaron Sorkin
PADDINGTON 2 Simon Farnaby, Paul King

ANNETTE BENING Film Stars Don’t Die in Liverpool
 · WINNER: FRANCES McDORMAND Three Billboards Outside Ebbing, Missouri
SALLY HAWKINS The Shape of Water

JAMIE BELL Film Stars Don’t Die in Liverpool

OCTAVIA SPENCER The Shape of Water

CHRISTOPHER PLUMMER All the Money in the World
HUGH GRANT Paddington 2
 · WINNER: SAM ROCKWELL Three Billboards Outside Ebbing, Missouri
WILLEM DAFOE The Florida Project
WOODY HARRELSON Three Billboards Outside Ebbing, Missouri

BLADE RUNNER 2049 Benjamin Wallfisch, Hans Zimmer
DARKEST HOUR Dario Marianelli
DUNKIRK Hans Zimmer
PHANTOM THREAD Jonny Greenwood
 · WINNER: THE SHAPE OF WATER Alexandre Desplat

 · WINNER: BLADE RUNNER 2049 Roger Deakins
DARKEST HOUR Bruno Delbonnel
DUNKIRK Hoyte van Hoytema

 · WINNER: BABY DRIVER Jonathan Amos, Paul Machliss
BLADE RUNNER 2049 Joe Walker
THE SHAPE OF WATER Sidney Wolinsky

BEAUTY AND THE BEAST Sarah Greenwood, Katie Spencer
BLADE RUNNER 2049 Dennis Gassner, Alessandra Querzola
DARKEST HOUR Sarah Greenwood, Katie Spencer
DUNKIRK Nathan Crowley, Gary Fettis
 · WINNER: THE SHAPE OF WATER Paul Austerberry, Jeff Melvin, Shane Vieau

BEAUTY AND THE BEAST Jacqueline Durran
DARKEST HOUR Jacqueline Durran
I, TONYA Jennifer Johnson

BLADE RUNNER 2049 Donald Mowat, Kerry Warn
 · WINNER: DARKEST HOUR David Malinowski, Ivana Primorac, Lucy Sibbick, Kazuhiro Tsuji
I, TONYA Deborah La Mia Denaver, Adruitha Lee
VICTORIA & ABDUL Daniel Phillips, Lou Sheppard
WONDER Naomi Bakstad, Robert A. Pandini, Arjen Tuiten

BABY DRIVER Tim Cavagin, Mary H. Ellis, Dan Morgan, Jeremy Price, Julian Slater
BLADE RUNNER 2049 Ron Bartlett, Theo Green, Doug Hemphill, Mark Mangini, Mac Ruth
 · WINNER: DUNKIRK Alex Gibson, Richard King, Gregg Landaker, Gary A. Rizzo, Mark Weingarten
THE SHAPE OF WATER Christian Cooke, Nelson Ferreira, Glen Gauthier, Nathan Robitaille, Brad Zoern
STAR WARS: THE LAST JEDI Ren Klyce, David Parker, Michael Semanick, Stuart Wilson, Matthew Wood

 · WINNER: BLADE RUNNER 2049 Richard R. Hoover, Paul Lambert, Gerd Nefzer, John Nelson
DUNKIRK Paul Corbould, Scott Fisher, Andrew Jackson, Andrew Lockley
THE SHAPE OF WATER Dennis Berardi, Trey Harrell, Mike Hill, Kevin Scott
STAR WARS: THE LAST JEDI Stephen Alpin, Chris Corbould, Ben Morris, Neal Scanlan
WAR FOR THE PLANET OF THE APES Daniel Barrett, Dan Lemmon, Joe Letteri, Joel Whist

HAVE HEART Will Anderson
MAMOON Ben Steer
 · WINNER: POLES APART Paloma Baeza, Ser En Low

AAMIR Vika Evdokimenko, Emma Stone, Oliver Shuster
 · WINNER: COWBOY DAVE Colin O’Toole, Jonas Mortense
A DROWNING MAN Mahdi Fleifel, Signe Byrge Sørensen, Patrick Campbell
WORK Aneil Karia, Scott O’Donnell
WREN BOYS Harry Lighton, Sorcha Bacon, John Fitzpatrick

RISING STAR AWARD (voted for by the public)

February 10, 2018

Why Do the Democrats Take Trump’s Trolling Lying Down?

TrumpThis is advice for the Democrats. Democrats never take my advice. So why do I keep giving it to them?

These “what Democrats ought to do” columns aren’t really for the Democratic Party leadership. They’re for you, dear left-of-center reader. I’m explaining what the Dems should be doing and comparing it to what they’re actually doing. That gap between what makes sense and what is going on, I hope you’ll conclude, is so big that we should declare the Democratic Party dead and gone. Giving up on the Dems is important.

The Left will never roll up its sleeves and start building a genuine alternative to the current system until it stops trying, somehow, to take over or sway the Distracticats.

This week, I’d like to showcase the stunning ineptitude of the Democrats’ communications strategy.

There are many examples to choose from, but lately I have been marveling at Democratic leaders’ wimpiness in the face of the president’s Twitter-trolling.

On November 28, 2017, Trump tweeted: “Meeting with ‘Chuck and Nancy’ today about keeping government open and working. Problem is they want illegal immigrants flooding into our Country unchecked, are weak on Crime and want to substantially RAISE Taxes. I don’t see a deal!”

Senate Minority Leader Chuck Schumer and House Democratic Leader Nancy Pelosi canceled their scheduled meeting with Trump. “Given that the President doesn’t see a deal between Democrats and the White House, we believe the best path forward is to continue negotiating with our Republican counterparts in Congress instead,” Pelosi and Schumer said in a joint statement. “Rather than going to the White House for a show meeting that won’t result in an agreement, we’ve asked (Senate Majority Leader Mitch) McConnell and (House Speaker Paul) Ryan to meet this afternoon.”


Schumer and Pelosi were right to cancel — but not because of Trump’s stated pessimism about arriving at an agreement. They should have canceled because Trump insulted them. “Chuck and Nancy”? Really?

As Frederick Douglass said, people naturally have contempt for a person who won’t stand up for himself. Schumer and Pelosi should have fought back. They should have refused to let Trump big-dog them.

They could have taken the high road: “Until the President learns to address us politely, like an adult, using our proper titles and names — Senator Schumer, Representative Pelosi, Leader Schumer, Leader Pelosi — we Democrats will have no communications with him whatsoever.”

Or they could have gone the Ted Rall route: “We’re sorry, silly fat Orange Donald, that your mother didn’t raise you properly. Until you delete your Twitter account, apologize on TV and sign a contract agreeing to never darken social media again — oh, and no pussy grabbing either — you can go f— yourself.

Either way, they’d have to mean it. That would mean no more meetings, no more tolerating the president’s wanton rudeness. Total obstruction.

I know. It ain’t gonna happen. Democratic leaders obviously believe that they risk debasing themselves if they lower themselves to Trump’s rhetorical level. What they don’t get is that Trump is a bully. The only way to deal with a bully is with shock-and-awe brutality.

The debasement follows the insult. Your decision not to climb into the gutter with the bullying idiot may seem admirable — “when they go low, we go high,” Michelle Obama said — but it allows your tormentor to cast you as a coward. When you allow the bully to insult you over and over and over, as Trump does to his enemies, you tacitly endorse their insults. Why, otherwise, do you tolerate disrespect?

Or, to look at it another way, consider why Trump’s fans love him. They love him because he “says it like it is,” doesn’t take prisoners, doesn’t mince words. One person’s lack of impulse control is another’s courage. Imagine, if a progressive were as rude and aggressive as Trump, how exciting that would be?

On January 26, 2018, Trump was back at it — not that he ever took a break. “DACA has been made increasingly difficult by the fact that Cryin’ Chuck Schumer took such a beating over the shutdown that he is unable to act on immigration!” Trump tweeted.

Imagine you were Chuck Schumer. You’re a U.S. senator. He’s been in Congress since 1974, when Trump was still making his name refusing to rent apartments to black people. Why, you might ask yourself, should I put up with this patak who dares to give me a ridiculous nickname?

Four days later, here was Schumer, calling him “President Trump” and “the President.” WTF?

Schumer and the Democrats won’t even defend themselves. Do you seriously think they’ll lift a finger for you and me?

By Ted Rall

(Ted Rall (Twitter: @tedrall) is co-author, with Harmon Leon, of “Meet the Deplorables: Infiltrating Trump America,” an inside look at the American far right, out now. You can support Ted’s hard-hitting political cartoons and columns and see his work first by sponsoring his work on Patreon.)

February 07, 2018

What if #MeToo Held Capitalist Predators to Account Too?

The #MeToo Movement has held sexual predators in positions of power who abuse that power to account. Wouldn’t it be nice to also see a similar movement holding predatory capitalists, most of whose victims are women, similarly to account?

January 30, 2018


Includes 100 years of Olympic Glory, Night of the Living Dead,
Wong Kar-wai's In the Mood for Love, and Howard Hawks' His Girl Friday!
Thursday, February 1st
The Great Escape*
Based on the true story of an elaborately coordinated attempt to break out of a Nazi POW camp, John Sturges's The Great Escape is one of the most rousing adventure films of all time, anchored by Steve McQueen's rebellious turn as "Cooler King" Captain Virgil Hilts. Featuring a powerful ensemble that includes Richard Attenborough, James Garner, Charles Bronson, and James Coburn, the film pulses with the humor of the prisoners' camaraderie and the relentless suspense of their plan. Never released on DVD or Blu-ray, this 1993 Criterion laserdisc edition includes a long-unavailable commentary featuring Sturges, composer Elmer Bernstein, production manager and second-unit director Robert E. Relyea, stuntman Bud Ekins, and film historian Bruce Eder.
*Premiering on the Channel this month.
Friday, February 2nd
Friday Night Double Feature: The Front Page* and His Girl Friday

These two whiplash-fast newsroom comedies are based on Ben Hecht and Charles McArthur's 1928 stage hit The Front Page. Lewis Milestone scooped the story in 1931, directing a faithful adaptation that stars Adolphe Menjou as the cutthroat editor Walter Burns and Pat O'Brien as Hildy Johnson, his star reporter. The film is presented in its recently restored American version, Milestone's preferred cut. Nearly a decade later, Howard Hawks turned the play inside-out: in 1940's His Girl Friday, Hildy Johnson became a woman (Rosalind Russell), and Cary Grant's Burns is not only her editor but her ex-husband-making the film one of Hollywood's most irresistible comedies of remarriage.
*Premiering on the Channel this month.
Friday, February 2nd
Olympic Glory*

Spanning fifty-three movies and forty-one editions of the Olympic Games, 100 Years of Olympic Films: 1912-2012 is the culmination of a monumental, award-winning archival project encompassing dozens of new restorations by the International Olympic Committee. This selection gathers eleven films from the box set, offering a sampler of the history of the Games across continents and decades. Among the highlights in the program are landmark documentaries by some of the world's greatest filmmakers, including Leni Riefenstahl (Olympia); Kon Ichikawa (Tokyo Olympiad); Milos Forman, Claude Lelouch, Arthur Penn, and John Schlesinger (Visions of Eight); and Carlos Saura (Marathon).

Monday, February 5th
Eclipse Series 45: Claude Autant-Lara: Four Romantic Escapes from Occupied France

Spurned first by the French New Wave iconoclasts as belonging to the "tradition of quality" and later for the extremist political views their director embraced as a member of the right-wing National Front, Claude Autant-Lara's wartime films are rarely seen today. These four romances, produced during the dark days of the German occupation, are fueled by a slyly subversive voice and exquisite visual sense, and showcase the formidable talents of two of his closest collaborators. The charmingly impetuous Odette Joyeux sparkles at the height of her stardom in a quartet of protofeminist roles, crafted by screenwriter Jean Aurenche, who injects a strain of progressive social criticism that managed to evade the Nazi censors. Also noteworthy is the first screen appearance of Jacques Tati, in Autant-Lara's most popular and technically innovative success, Sylvie et le fantôme. These long unavailable gems deserve to be better known, if only as a record of some of the most talented film artists in France, working at the height of their powers during one of the most perilous periods in twentieth-century history.

Tuesday, February 6th
Tuesday's Short + Feature: Five Miles Out* and Life Is Sweet

Andrew Haigh and Mike Leigh, two of British cinema's sharpest observers of character, turn their attention to the close and sometimes painful bonds of sisterhood. Haigh's 2009 short reveals the volcanic emotions that lurk beneath everyday scenes, centering on a girl who is sent on vacation with her cousins but remains preoccupied with her hospital-bound sister back home. An international breakthrough for Leigh, Life Is Sweet is an intimate portrait of a working-class family with twin daughters who couldn't be more different: the bookish plumber Natalie (Claire Skinner) and the bulimic, ill-tempered Nicola (Jane Horrocks). Jim Broadbent and Alison Steadman exude warmth as the girls' parents, and Stephen Rea, David Thewlis, and Timothy Spall deliver winning performances as the eccentrics who orbit the family unit. The edition of Life Is Sweet is accompanied by an audio commentary by Leigh.
Wednesday, February 7th
Sweet Smell of Success: Edition #555

In this swift, cynical film by Alexander Mackendrick, Burt Lancaster stars as the vicious Broadway gossip columnist J. J. Hunsecker, and Tony Curtis as Sidney Falco, the unprincipled press agent Hunsecker ropes into smearing the up-and-coming jazz musician romancing his beloved sister. Featuring deliciously unsavory dialogue, in an acid, brilliantly structured script by Clifford Odets and Ernest Lehman, and noirish neon cityscapes from Oscar-winning cinematographer James Wong Howe, Sweet Smell of Success is a cracklingly cruel dispatch from the kill-or-be-killed wilds of 1950s Manhattan. SUPPLEMENTAL FEATURES: a 1986 documentary about Mackendrick, a 1973 documentary about Howe, a video interview with film critic and historian Neal Gabler, and more.

Friday, February 9th
Friday Night Double Feature: The Misfits and The Harder They Fall

These two swan songs herald the end of the Hollywood star system with a nearly mythical sense of finality. John Huston's The Misfits features the last performances of Marilyn Monroe and Clark Gable, and their costar Montgomery Clift would only appear in three more movies before dying at forty-five. Scripted by Monroe's husband Arthur Miller, the Nevada-set film sets the actress's inimitable mix of sensuality and vulnerability against the world-weary alienation of three hardened men, played by Gable, Clift, and Eli Wallach. Humphrey Bogart's last film, The Harder They Fall, stars the legendary actor as a down-on-his-luck sportswriter who gets roped into a scam by a fast-talking promoter (Rod Steiger) lining up fixed fights for a talentless (and clueless) Argentine heavyweight. Bogart would die less than a year after the film's premiere, and his understated portrayal of a reluctant hustler makes for a rich contrast with Steiger's Method-informed bluster, marking a shift in the tides of American film acting.
Tuesday, February 13
Tuesday's Short + Feature: Paul Robeson: Tribute to an Artist and The Emperor Jones

Courageously outspoken and wildly talented, Paul Robeson was one of the most commanding performers of his time. As a singer, actor, athlete, and activist, he broke barriers in Jim Crow-era America, campaigning for social justice and striving to reshape the public's idea of who a black man could be. Saul J. Turell's Oscar-winning documentary short, narrated by Sidney Poitier, traces the evolution of Robeson's career using a series of his performances of "Ol' Man River," a song that took on layers of meaning over time. That booming voice made its first appearance in sound cinema in The Emperor Jones, a 1933 adaptation of Eugene O'Neill's play about a Pullman porter who muscles his way to power on a Caribbean island. Though the fearsome Brutus Jones may not have been the type of stereotype-busting role that Robeson hoped to bring to the screen, the character made him the first African-American leading man in mainstream cinema.

Tuesday, February 13th
Night of the Living Dead*: Edition #909

Shot outside Pittsburgh on a shoestring budget by a band of self-taught filmmakers, horror master George A. Romero's Night of the Living Dead is a great story of independent cinema: a midnight hit turned box-office smash that became one of the most influential films of all time. A deceptively simple tale of a group of strangers trapped in a farmhouse who find themselves fending off a horde of recently dead, flesh-eating ghouls, Romero's claustrophobic vision of a late-1960s America literally tearing itself apart rewrote the rules of the horror genre, combined gruesome gore with acute social commentary, and quietly broke ground by casting a black actor (Duane Jones) in its lead role. Stark, haunting, and more relevant than ever, Night of the Living Dead is back. SUPPLEMENTAL FEATURES: Night of Anubis, a never-before-presented work-print edit of the film; a program featuring filmmakers Frank Darabont, Guillermo del Toro, and Robert Rodriguez; a never-before-seen 16 mm dailies reel; and more.
*Premiering on the Channel this month.
Wednesday, February 14th
In the Mood for Love: Edition #147

At once delicately mannered and visually extravagant, Wong Kar-wai's In the Mood for Loveis a masterful evocation of romantic longing and fleeting moments. In 1960s Hong Kong, Chow Mo-wan (Tony Leung Chiu-wai) and Su Li-zhen (Maggie Cheung Man-yuk) move into neighboring apartments on the same day. Their encounters are formal and polite-until a discovery about their spouses creates an intimate bond between them. With its aching musical soundtrack and exquisitely abstract cinematography by Christopher Doyle and Mark Lee Ping-bin, this film has been a major stylistic influence on the past decade of cinema, and is a milestone in Wong's redoubtable career. SUPPLEMENTAL FEATURES: a documentary on the making of the film; Hua yang de nian hua (2000), a short film by Wong; Toronto International Film Festival press conference from 2000, with Cheung and Leung; and more.

Thursday, February 15th
The Red Balloon and The Black Balloon

Floating from midcentury Paris to contemporary Manhattan, these two portraits of urban life breathe a whimsical sensibility into a particular inanimate item. In Albert Lamorisse's The Red Balloon (1956), a boy embarks on a series of adventures with an inflatable-yet sentient-companion. A gritty variation on that beloved classic, Josh and Benny Safdie's The Black Balloon (2012) follows the stray object of the title on an odyssey through the streets of the filmmakers' native New York City.
Friday, February 16th
Friday Night Double Feature: A Slave of Love and Knight Without Armor

The Russian Civil War provides the roiling backdrop for these two sweeping romantic adventures. Nikita Mikhalkov's A Slave of Love (1976) tells the tale of a silent-film star who falls for a Bolshevik on set. Jacques Feyder's Knight Without Armor (1937) revolves around a British spy posing as a revolutionary (Robert Donat) and the countess whom he loves and seeks to save (Marlene Dietrich).
Tuesday, February 20th
Tuesday's Short + Feature: Bluebeard* and Bluebeard

A classic fairy tale, read two ways. With his colorful claymation short Bluebeard (1938), Jean Painlevé departed from the nature filmmaking that was his specialty, giving a playful charge to the dark story of a young wife and her murderous new husband. For her 2009 adaptation of Charles Perrault's classic fable, French director Catherine Breillat keyed into the material's more provocative elements, using the fable to explore her perennial themes of sex, power, and sisterhood.
*Premiering on the Channel this month.
Wednesday, February 21
Frances Ha*: Edition #681

A leading contender for this year's best director Oscar, Greta Gerwig delivered one of her most enchanting performances as Frances, a woman in her late twenties in contemporary New York trying to sort out her ambitions, her finances, and, above all, her intimate but shifting bond with her best friend, Sophie (Mickey Sumner). Meticulously directed by Noah Baumbach with a free-and-easy vibe reminiscent of the French New Wave's most spirited films, and written by Baumbach and Gerwig with an effortless combination of sweetness and wit, Frances Ha gets at both the frustrations and the joys of being young and unsure of where to go next. This wry and sparkling city romance is a testament to the ongoing vitality of independent American cinema. SUPPLEMENTAL FEATURES: a conversation between filmmaker Peter Bogdanovich and Baumbach; a conversation between actor and filmmaker Sarah Polley and the film's cowriter and star, Greta Gerwig; and more.
*Premiering on the Channel this month.

Wednesday, February 21st
Festival*: Edition #892

Before Woodstock and Monterey Pop, there was Festival. From 1963 through 1966, Murray Lerner visited the annual Newport Folk Festival to document a thriving, idealistic musical movement as it reached its peak as a popular phenomenon. Joan Baez, Bob Dylan, Howlin' Wolf, Johnny Cash, the Staple Singers, Pete Seeger, Son House, and Peter, Paul and Mary were just a few of the legends who shared the stage at Newport, treating audiences to a range of folk music that encompassed the genre's roots in blues, country, and gospel as well as its newer flirtations with rock and roll. Shooting in gorgeous black and white, Lerner juxtaposes performances with snapshot interviews with artists and their fans, weaving footage from four years of the festival into an intimate record of a pivotal time in music-and in American culture at large. SUPPLEMENTAL FEATURES: a documentary about the making of the film; a selection of unreleased performances by Clarence Ashley, Johnny Cash, Elizabeth Cotten, John Lee Hooker, Odetta, and Tom Paxton; and more.
*Premiering on the Channel this month.
Thursday, February 22nd
Four Luis Buñuel Editions

One of cinema's great subversives, Luis Buñuel spent nearly half a century taking aim at a number of humankind's most cherished orthodoxies. This month, we're presenting editions of four of his late-career French films, which plunge into the surreal and satirical. A ribald deconstruction of contemporary and traditional views on Catholicism, 1969's The Milky Way(Criterion Collection Edition #402) inaugurated what Buñuel saw as a trilogy about "the search for truth." That cycle's next two films, the absurdist masterpieces The Discreet Charm of the Bourgeoisie (#102) and The Phantom of Liberty (#290), take place at high-society gatherings disrupted by absurd occurrences, revealing the hypocrisy of conventional morality and the arbitrariness of social arrangements. Buñuel's final film, 1977's That Obscure Object of Desire (#143), is a dizzying game of sexual politics that brings full circle the director's lifelong preoccupation with the darker side of desire. Supplements in this program include a documentary about Buñuel's life and work, and a video with Jean-Claude Carrière.

Friday, February 23rd
Friday Night Double Feature: Birdman of Alcatraz and Down by Law

Get a glimpse of life behind bars in John Frankenheimer's 1962 drama Birdman of Alcatraz and Jim Jarmusch's 1986 misfit "neo-Beat noir comedy" Down by Law. Featuring a powerful performance by Burt Lancaster, Frankenheimer's film is one of the blueprints of the prison movie, telling the story of a convicted murderer who, after developing an affinity for birds while in prison, goes on to become a distinguished ornithologist. Jarmusch's sophomore feature turns that blueprint on its head, bringing together Tom Waits, John Lurie, and Roberto Benigni for an idiosyncratic tale about a Louisiana prison break that leads to a dreamlike adventure.

Monday, February 26
Observations on Film Art No. 16: The Darkness of War in Wooden Crosses

Raymond Bernard's 1932 masterpiece Wooden Crosses, often referred to as France's All Quiet on the Western Front, is one of the most poignant films to envision the horrors of combat during World War I. Widely celebrated for its lavishly expensive and realistic reconstruction of life in the trenches, the film is also remarkable for the subtlety of Bernard's techniques. For this month's episode of Observations on Film Art, a Channel-exclusive series that takes a look at how great filmmakers use cinematic devices and conventions, film-studies scholar Kristin Thompson explores how Wooden Crosses combines the brutality of other war dramas of its era with a lyricism all its own, achieved largely through the film's exquisite use of lighting.

Tuesday, February 27
Tuesday's Short + Feature: Nadja in Paris and Breathless

Two French New Wave titans find inspiration in the experiences of young American women studying abroad in Paris. In his 1964 short Nadja in Paris, Rohmer teams up for the first time with the great cinematographer Néstor Almendros, observing the everyday comings and goings of an exchange student discovering the city while writing her thesis on Marcel Proust. In his landmark 1960 debut feature, Breathless, Godard pays tribute to American gangster movies with a jazzy tale of a criminal who becomes romantically involved with an American student (the incandescent Jean Seberg) living in Paris.
Tuesday, February 27
4 by Agnès Varda: Edition #418

Agnès Varda used the skills she honed early in her career as a photographer to create some of the most nuanced, thought-provoking films of the past fifty years. She is widely believed to have presaged the French New Wave with her first film, La Pointe Courte, long before creating one of the movement's benchmarks, Cléo from 5 to 7. Later, with Le bonheur and Vagabond, Varda further shook up art-house audiences, challenging bourgeois codes with her inscrutable characters and offering effortlessly beautiful compositions and editing. Now working largely as a documentarian, Varda remains one of the essential cinematic poets of our time and a true visionary. SUPPLEMENTAL FEATURES: video interviews with Varda; excerpts from a 1964 episode of the French television series Cinéastes de notre temps, in which Varda discusses her early career; a documentary about the making of Cléo from 5 to 7; and more.
Wednesday, February 28
Adventures in Moviegoing with Megan Abbott

An award-winning novelist and a writer for David Simon's HBO drama The Deuce, Megan Abbott joins film critic Michael Sragow to talk about her precocious filmgoing life, beginning with her family trips to the revival house in her hometown of Grosse Point, Michigan, where she first fell in love with the speed, grit, and thump of crime films like The Public Enemy. She also remembers her epiphany seeing Blue Velvet, which revealed a hidden world and new dimensions to an American suburb like her own. For the program that accompanies the interview, Abbott has picked a slate of films that echo that revelation in different ways, including Lynch's Twin Peaks: Fire Walk with Me and Samuel Fuller's The Naked Kiss, as well as movies like Blood Simple, which reflects her ongoing obsessions with film noir, and Picnic at Hanging Rock, which she regards as a breakthrough treatment of female adolescence.
Complete list of films premiering on the Criterion Channel this month:

February 1
Tropical Malady, Apichatpong Weerasethakul, 2005
Syndromes and a Century, Apichatpong Weerasethakul, 2006
Uncle Boonmee Who Can Recall His Past Lives, Apichatpong Weerasethakul, 2010
Cemetery of Splendor, Apichatpong Weerasethakul, 2015
The Great Escape, John Sturges, 1963
February 2
Olympia Part One: Festival of the Nations, Leni Riefenstahl, 1938
Olympia Part Two: Festival of Beauty, Leni Riefenstahl, 1938
Tokyo Olympiad, Kon Ichikawa, 1965
13 Days in France, Claude Lelouch, 1968
Visions of Eight, Milos Forman, Kon Ichikawa, Claude Lelouch, Yuri Ozerov, Arthur Penn, Michael Pfleghar, John Schlesinger, Mai Zetterling, 1973
White Rock, Tony Maylam, 1977
16 Days of Glory, Bud Greenspan, 1986
Marathon, Carlos Saura, 1993
The Front Page, Lewis Milestone, 1931 
The Games of the V Olympiad Stockholm, 1912, Adrian Wood, 2016 
White Vertigo, Giorgio Ferroni, 1956
February 5
Lettres d'amour, Claude Autant-Lara, 1942
February 6
Five Miles Out, Andrew Haigh, 2009
February 13
Night of the Living Dead, George A. Romero, 1968
February 20
Bluebeard, Jean Painlevé, 1938
February 21
Festival, Murray Lerner, 1967
Francis Ha, Noah Baumbach, 2013

The Criterion Channel offers the largest streaming collection of Criterion films available, including classic and contemporary films from around the world, interviews and conversations with filmmakers and never-before-seen programming. The channel's weekly calendar features complete Criterion editions, thematic retrospectives, live events, short films, and select contemporary features, along with exclusive original programming that aims to enhance the Criterion experience for the brand's dedicated fans as well as expanding its reach to new audiences. Other recent additions to the programming include MEET THE FILMMAKER: ATHINA RACHEL TSANGARI and ADVENTURES IN MOVIEGOING WITH BILL HADER.


FilmStruck is a new subscription on-demand service that offers film aficionados a comprehensive library of films including an eclectic mix of contemporary and classic art house, indie, foreign and cult films. Developed and managed by Turner Classic Movies (TCM) in collaboration with the Criterion Collection, FilmStruck will be the new exclusive streaming home for the critically acclaimed and award-winning Criterion Collection, including the Criterion Channel, a new premium service programmed and curated by the Criterion team.  FilmStruck is Turner's first domestic direct-to-consumer offering launched in November 2016.


Since 1984, the Criterion Collection has been dedicated to publishing important classic and contemporary films from around the world in editions that offer the highest technical quality and award-winning, original supplements. No matter the medium-from laserdisc to DVD and Blu-ray to FilmStruck, the streaming service developed in collaboration with Turner Classic Movies - Criterion has maintained its pioneering commitment to presenting each film as its maker would want it seen, in state-of-the-art restorations with special features designed to encourage repeated watching and deepen the viewer's appreciation of the art of film.

January 29, 2018

Coming to NETFLIX in February 2018

Screen Shot 2017-08-02 at 4.27.13 PM

Feb. 1

3000 Miles to Graceland
42 Grams
Aeon Flux
American Pie
American Pie 2
American Pie Presents: Band Camp
American Pie Presents: The Book of Love
American Pie Presents: The Naked Mile
Ella Enchanted
How the Beatles Changed the World
John Mellencamp: Plain Spoken
Kill Bill: Vol. 1
Kill Bill: Vol. 2
Lara Croft: Tomb Raider
Liberated: The New Sexual Revolution
Meet the Fockers
Meet the Parents
Men in Black
National Parks Adventure
Ocean’s Eleven
Ocean’s Twelve
Ocean’s Thirteen
Paint It Black
Scream 3
The Hurt Locker
Walk Hard: The Dewey Cox Story
Z Nation: Season 4

Feb. 2 to Feb. 10

6 Days
Altered Carbon: Season 1
Cabin Fever
Coach Snoop: Season 1
Fate/Apocrypha: Part 2
Fred Armisen: Standup For Drummers
Imposters: Season 1
Kavin Jay: Everybody Calm Down!
Luna Petunia: Return to Amazia: Season 1
My Next Guest Needs No Introduction With David Letterman: George Clooney
On Body and Soul
Queer Eye: Season 1
Seeing Allred
The Emoji Movie
The Ritual

Feb. 11 to Feb. 20

Bates Motel: Season 5
Blood Money
Deep Undercover Collection: Collection 2
DreamWorks Dragons: Race to the Edge: Season 6
Everything Sucks!: Season 1
First Team: Juventus: Season 1
FullMetal Alchemist
Greenhouse Academy: Season 2
Evan Almighty
Irreplaceable You
Love Per Square Foot
Re:Mind: Season 1
The Frankenstein Chronicles: Season 1 and Season 2
The Joel McHale Show with Joel McHale

Feb. 21 to Feb. 28

Atomic Puppet: Season 1
Derren Brown: The Push
El Vato: Season 2
Heyday of the Insensitive Bastards
Jeepers Creepers 3
Marlon Wayans: Woke-ish
Marseille: Season 2
People You May Know
Seven Seconds: Season 1
Sin Senos sí Hay Paraíso: Season 2
The Bachelors
Ugly Delicious: Season 1

January 28, 2018


Beth Stelling

Check out the awesome and funny Beth Stelling on the Netflix standup comic anthology THE STANDUPS. Beth is by far the best and brightest of the bunch.

You wouldn't be wrong to skip straight to her episode; it's worthy of repeated viewings. This lady has great jokes, timing, and delivery.

Perhaps we'll have Beth Stelling as a guest co-host on LA GRANDE BOUFFE (THE BIG FEAST) some time.

Keep an eye out for Beth Stelling, and catch her live act if you can, you'll laugh, that's for sure. 

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