Transparent, Amazon’s foray into the Netflix-infested waters of quality internet binge watching, is deservedly the most critically-lauded show of this Fall television season (and was just renewed for a second season). Created by writer/director Jill Soloway (writer/producer Six Feet Under and The United States of Tara, writer/director Afternoon Delight, which won a directing award at Sundance in 2013), the show centers around the Pfefferman family, an affluent Jewish LA clan whose patriarch Mort (Jeffrey Tambor) comes out as transgender and begins to live as Maura in her late 60s.
Directed mostly by Soloway herself, (with the exception of three, credited to Nisha Ganatra), the direction in the show is [...]
Richard Linklater is having what can probably be considered the most visible period of his career with the release of his highly anticipated and equally regarded Boyhood. This marks the first time that the box office success and critical success of one of his projects coalesced into a true major cultural moment, prompting numerous career retrospectives and think-pieces. Common take on Richard Linklater is that his filmography is defined by unpredictability, never bound to one particular label and always willing to try new things as a director. Just when you think you can track his Rohmer-influenced style through Slacker and the Before Trilogy, you realize his name is [...]
There are many ways to go about parodying a form, however from Mel Brooks’ smug send-ups to Nathan Fielder’s biting critique of the types of non-fiction programming available on modern TV, most of these attempts hardly come from a place of love. With Brooks and his ilk such as the Zucker/Abraham team, nothing is treated as too sacred to be made a mockery of with a oft-insensitive joke. Fielder is so mean-spirited in his treatment of the laymen he claims to attempt to be helping that my tricks-averse girlfriend cringed her way through one episode of Nathan For You with me before shooting me a look of severe disapproval and [...]
If, in the year 2007, a reader wanted content on the films of David Gordon Green, a comedy website would hardly have been their first stop. At that time Green and his North Carolina School of the Arts production team had produced four small, subdued, critically-acclaimed indies in George Washington, All the Real Girls, Undertow, and Snow Angels. It was considered a prolific output from a promising, Roger Ebert-approved, young American auteur primed to follow in the footsteps of indie pioneers like Soderberg and Linklater before him. This is all to say that when Green signed on to direct Pineapple Express, a broad stoner comedy from the Apatow factory, the [...]
In the early '90s American Indie boom, auteurs like Quentin Tarantino and Steven Soderbergh emerged into the zeitgeist with personal, low-budget projects that ultimately came to inform a larger body of work that made them the important film personalities they are today. In this same Sundance-fueled era, a 24-year-old Kevin Smith premiered his first film, Clerks. With the industry support of Harvey Weinstein and the critical support of the New York Times and Janet Maslin, Kevin Smith bullied his way into the rising star director conversation. His follow up films, Mallrats, Chasing Amy, and Dogma led to the creation of a connected Kevin Smith universe, or, the "View-Askewniverse" as [...]