More From Todd McCarthy
Take Two: ‘Bardo’, ‘Blonde’, ‘Babylon’ And More – Should Directors Have Total Control?
Editor’s note: Deadline presents the 33rd episode of its video series Take Two, in which Pete Hammond and Todd McCarthy tackle the artistry of films. Each has reviewed and written about the craft for decades and built a remarkable breadth of knowledge of films past and present. What we hoped for when we asked them to d…
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Telluride Review: Werner Herzog’s ‘Theater Of Thought’
Werner Herzog turned 80 on September 5—the last day of the Telluride Film Festival, his abiding favorite film event, which he's been attending for decades—and, of course, he has a new film to mark the occasion; you'd expect nothing less. It's a documentary—he's made many—and it shows the filmmaker as youthfully…
‘Take Two’: Venice, Telluride & Toronto Reactions, Part II – What Were The Best Movies Of The Fall Festival Awards Season Kickoff?
Editor’s note: Deadline presents the 32nd episode of its video series Take Two (formerly known as Two Shot), in which Pete Hammond and Todd McCarthy tackle the artistry of films. Each has reviewed and written about the craft for decades and built a remarkable breadth of knowledge of films past and present. What we hope…
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Telluride Review: Mark Cousins’ Documentary ‘My Name Is Alfred Hitchcock’
By this time, don't we know just about everything there is to know about Alfred Hitchcock? Few, if any, other filmmakers have had their lives and careers examined, explored and analyzed as much as has the vaunted master of suspense. So unless incontrovertible evidence were to be suddenly found that the director…
Telluride Review: Dror Moreh’s Documentary ‘The Corridors Of Power’
An exceptional and, one might venture, unprecedented group of politicians, diplomats, policy wonks, elected officials and veteran Washington insiders expound on the effectiveness of international military intervention—and the lack thereof—in The Corridors of Power. Israeli director Dror Moreh made one of the great…
Godard Is Gone: A Remembrance Of The Stubborn & Iconoclastic Film Director
Stubborn and iconoclastic as always, Jean-Luc Godard has passed to another realm–and by his own choice–at age 91. Ever impudent and exasperating, forever pushing boundaries but remaining elusive, and an artist in every fiber of his being, Godard always did exactly what he wanted to do; for a few years many followed…
Take Two: Remembering Jean-Luc Godard; Venice, Toronto & Telluride Reactions Part I
Editor’s note: Deadline presents the 31st episode of its video series Take Two (formerly known as Two Shot), in which Pete Hammond and Todd McCarthy tackle the artistry of films. Each has reviewed and written about the craft for decades and built a remarkable breadth of knowledge of films past and present. What we hope…
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Toronto Review: Benjamin Millepied’s ‘Carmen’
For questionable reasons, some very talented people got it into their heads that it would be a great idea to redress Georges Bizet's classic 1875 musical Carmen for the big screen by throwing out everything—the setting, the era and, most of all, the music—and replacing it with a misguided attempt at relevance by…
Toronto Review: Stephen Frears’ ‘The Lost King’ Starring Sally Hawkins
William Shakespeare rather definitively defined Richard the Third as a deformed, conniving, duplicitous and altogether unsavory monarch in his 1597 play, and the man's image as such has persisted ever since.
But that all changed nearly a decade ago when an obscure amateur historian sniffed around and ultimately…
Venice Review: Colin Farrell & Brendan Gleeson In Martin McDonagh’s ‘The Banshees Of Inisherin’
Playwright and filmmaker Martin McDonagh is up to more deliciously fiendish tricks in The Banshees of Inisherin, a simple and diabolical tale of a friendship's end shot through with bristling humor and sudden moments of startling violence. It world premieres in competition at the Venice Film Festival Monday. Colin Farr…
‘Women Talking’ Telluride Review: Rooney Mara And Superb Female Ensemble In Sarah Polley’s Powerful Drama
The women in question here belong to a secluded rural religious order on unidentified prairieland and the talking they do throughout Sarah Polley's immaculately made, intellectually adventurous and politically incisive new film consists of an ongoing debate that will determine the futures of these mostly young…
‘The Wonder’ Telluride Review: Florence Pugh In Sebastian Lelio’s Gothic Netflix Drama
The Wonder is Gothic without the architecture. Set in rural central Ireland in the wake of the Great Famine of the mid-1800s, director Sebastian Lelio's adaptation of Emma Donoghue's 2016 novel methodically moves the chess pieces around in telling the tale of an 11-year-old girl who has locals mystified as to what God…
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