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Leonard Maltin

Side By Side—movie review

  • By Leonard Maltin
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  • August 17, 2012 12:55 AM
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  • 0 Comments
I never expected Keanu Reeves to be my guide to the history of digital filmmaking, but that’s the role he plays as producer and host of the vital documentary Side by Side, written and directed by Chris Kenneally. It opens theatrically today in Los Angeles, with New York and other cities to follow. It will also be available On Demand next week.

Raymond Scott Back On The Big Screen

  • By Leonard Maltin
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  • July 12, 2012 1:00 AM
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  • 0 Comments
If you grew up watching Warner Bros. cartoons, you know the music of Raymond Scott, even if his name isn’t familiar. He was an innovative musician and composer whose propulsive, syncopated piece “Powerhouse” was adopted by Warner’s music director Carl Stalling as a recurring theme in his Looney Tunes scores.

John Huston’s “LIGHT” Online

  • By Leonard Maltin
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  • May 24, 2012 3:01 AM
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  • 4 Comments
Striking a blow for film preservation, and widespread access to films once they are properly restored, the National Film Preservation Foundation is now streaming John Huston’s long-suppressed 1946 documentary 'Let There Be Light' on its website.

A Fitting “Noir City” Festival Finale

  • By Leonard Maltin
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  • May 8, 2012 12:54 AM
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  • 2 Comments
I always look forward to the film noir festival at Hollywood’s Egyptian Theatre. This year’s finale on Sunday night featured the eloquent, ever-youthful Marsha Hunt (who, incredibly, is 94) talking about her career after watching a film she made in 1949 and never saw before:' Mary Ryan, Detective'. It’s not a rediscovered classic, but a well-made Columbia B movie about a female cop who goes undercover to bust a stolen-jewelry racket.

Revisiting History: Booker’s Place

  • By Leonard Maltin
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  • May 1, 2012 1:00 AM
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  • 0 Comments
So many documentaries come out every year that it isn’t possible to keep up with them all. I watched 'Booker’s Place' (now open theatrically in New York and Los Angeles, and available nationwide On Demand) because I admire its director, Raymond De Felitta, who most recently gave us the piquantly original comedy 'City Island'. And I’m awfully glad I did.

Chimpanzee—movie review

  • By Leonard Maltin
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  • April 20, 2012 1:00 AM
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  • 5 Comments
The fourth annual entry in the Disney Nature series that began with 'Earth', 'Chimpanzee' once again takes a low-key, family-friendly approach to its subject and applies what can only be described as “the Disney touch” to already-compelling real-life footage.

Undefeated—movie review

  • By Leonard Maltin
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  • March 1, 2012 6:25 PM
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  • 3 Comments
This year’s Oscar winner for Best Documentary Feature seems almost too good to be true…but that’s what makes it so effective. Directed, photographed and edited by Daniel Lindsay and T.J. Martin, it profiles a most unusual fellow: a volunteer football coach for a Memphis high school that most people have given up on. The fact that he is white and his players are black is barely...

movie review: Project Nim

  • By Leonard Maltin
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  • July 8, 2011 12:34 PM
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  • 1 Comment
If movies about talking cars or warlike robots don’t interest you, Project Nim is the latest documentary (following Buck) to offer a satisfying, adult alternative. It tells a story that is both stranger and more thought-provoking than most Hollywood fare.

movie review: BUCK

  • By Leonard Maltin
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  • June 23, 2011 4:30 AM
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  • 0 Comments
Some years ago, Robert Redford made an excellent movie called The Horse Whisperer, based on Nicholas Evans’ novel. It turns out that a horseman named

movie review: Page One: Inside The New York Times

  • By Leonard Maltin
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  • June 18, 2011 4:30 AM
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  • 6 Comments
If you’re expecting a prosaic documentary spotlighting a group of editors in ties sitting around a conference table, debating what’s worth putting on the front page of the country’s leading newspaper, you’re in for a surprise. Andrew Rossi’s vibrant film hones in on a handful of colorful figures on the Times staff in order to personalize the story and give it focus. By profiling them and their work he provides a razor-sharp picture of how a story is generated, reported, edited, and showcased in print.

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