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Corliss used to work on the board of the New York Film Festival , but resigned in after longtime head Richard Roud was fired due to his challenging of editorial direction of the festival. Corliss also admired the Pixar movies, including listing Finding Nemo as one of his and fellow Time critic Richard Schickel 's all-time greatest movies. With recent Pixar releases Cars and Ratatouille Corliss had access into the studio's inner workings. In addition to writing for Time , Corliss had a lengthy association with Film Comment magazine, serving as its editor from to Corliss covered movies for the magazine and for time.

Corliss along with Martin Scorsese first came up with the idea for the issue on "guilty pleasures".

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Corliss along with Richard Schickel made a Greatest movies list. Corliss alone created lists of the 25 greatest villains, the 25 best horror films, and the 25 most important films on race. In a Time magazine movie review of The Crying Game , Corliss subtly gave away the spoiler of the film, by spelling it out with the first letters of each paragraph of his review.

Corliss has had movies on his top ten lists that fellow Time critic Richard Schickel has rated the worst of the year. These included 's Moulin Rouge! In August , Stephen King , criticizing what he saw as a growing trend of leniency towards films by critics, included Corliss among a number of "formerly reliable critics who seem to have gone remarkably soft — not to say softhearted and sometimes softheaded — in their old age.

Richard Corliss appears in the documentary film For the Love of Movies: The Story of American Film Criticism , confessing that he was the film critic who, in the s, coined the term "Paulettes" for the ardent followers of Pauline Kael , a label which has stuck. Images, videos and audio are available under their respective licenses.

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Woodstock, N. Sennett, Ted ed. Even though the film is black and white. That was a terrific movie, golly, one of my favorites.

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But I flipped out when I finally did see it. All the best guys in one movie. You could do the same thing with films, only no one ever thinks of it that way. Sling Blade reminded me in some way of Tomorrow. The light definitely reminded me of being in Arkansas. I like characters. BBT I learned a little bit about lenses and things like that. Or how to create and utilize a dramatic setting.

Thanks for that interview with BBT! My dad had seen it on TV and never forgot it — but before the Internet you were really stuck if you wanted to track something down again. But it has a quiet authenticity that is very rare — especially in films that take place in the South. The attitude is always wrong. He has a great respect for the culture, I think — part of his empathy as an actor, his broad-mindedness about people.

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You can really see that in Tender Mercies and you can really see why he and Horton Foote were kindred spirits. By total coincidence Sling Blade was on last night and I watched the 2nd half. Still a great movie, and I miss John Ritter. Not that there is anything wrong with that, I guess. And your not a Hateful Eight fan, huh?! That movie is nothing if not polarizing. But no arguments if anyone hates that movie, there is plenty to hate. I am the opposite. In Duvall it sounds organic, though. Cosign on John Ritter! He was so good in that!!

This is what happens when you get so big that nobody says No to you anymore. He needs some naysayers around him. His 2 films before that were brilliant — his best — so Hateful 8 just feels like a weird egomaniacal self-indulgent glitch.

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I had remembered this movie as my first memory of seeing Mr. Duval in a film; I could not remember the name of the movie. I have been a Faulkner devote since I began reading him in the 9th grade back in I am not a literary nor a film critic, but I do appreciate a good film version of good literature. Google can be such a help. I love it so much. We got it through our library rentals, who work with out of state libraries.

It took many months to get it. Just watched Tomorrow for the first time.

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I was wrong. So glad I stuck with it. Dodgy at first, but I fell into its southern spell — often recalling my own childhood in northern Louisiana. Great writeup, Sheila, and obviously a great film. Duvall and Horton Foote were definitely soul mates, or kindred artistic spirits — whatever you want to call it. At least not the way it was made then. No false notes in his canon. I really need to revisit. Saw your FB post about the showing at Ebertfest and added it to my must see list. How does he do it??

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But then forget about all the things that start off great and he just makes them greater: Santini, The Apostle, Mercies, Network, and so on…. In particular during one scene — which is positively breathtaking in such a unique way — I mean, Mitchell and I have been talking about it for 30 years or whatever. Out of all of the big-wig 70s actors — he and Gene Hackman are my favorites.