A piece of the film world is about to become extinct, by some estimates, by the end of this year: film itself. Critic Milos Stehlik argues that film — and its preservation — should be part of a larger discussion of our national cultural heritage.
Cinematic auteur Todd Solondz gravitates to the darker regions of the medium and the darker reaches of human emotion. But in his latest offering, the director gives us something new, at least for him: an utterly “normal” character.
Austrian-born Hollywood director Billy Wilder has repeatedly been sidelined outside the ranks of great directors, despite his impressive range of films. Critic Milos Stehlik things that what bothers critics — even today — is that Wilder’s films cover a very broad range; the Wilder “style” is elusive.
Worldview film commentator Milos Stehlik says Sacha Baron Cohen's The Dictator may well be the most important film of the year. This is not a good thing. Stehlik says the film is "a cynical, didactic and evil piece of pop culture which, sadly enough, is estimated to earn more than $260 million."
To understand the Cannes awards process, you'd need Rosetta Stone-type skill to decipher the games of compromise played during jury discussions. Luckily we have film contributor Milos Stehlik to help us sort through this year's prizes.
Filmmakers and producers descend on Cannes with the hopes of getting money for a project. In reality, the thousands of films talked about and shown in the Cannes Market are films no one’s ever heard of and probably never will hear of again.