/Filmcast Ep. 193 – The Imposter

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This week, Dave, Devindra, and Adam respond to your feedback about The Amazing Spider-Man, join Team Margaret, and review one of the most thrilling documentaries of the year.

You can always e-mail us at slashfilmcast(AT)gmail(DOT)com, or call and leave a voicemail at 781-583-1993. We’ll be reviewing The Dark Knight Rises next week.

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This week, Dave Chen, Devindra, and Adam discuss The Dark Knight Rises prologue, praise the rarely seen Enlightened, and reflect on shows that have come back from the dead, creatively. Special guest Tasha Robinson from AV Club joins us for this episode.

You can always e-mail us at slashfilmcast(AT)gmail(DOT)com, or call and leave a voicemail at 781-583-1993. Live broadcasts will resume in 2012.

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Roger Ebert’s Top 20 Movies of 2011


With just days to go until the end of 2011 (Where did the year go???), legendary film critic Roger Ebert has announced his top 20 movies of the year. Just as you’d expect from Ebert, his list runs the gamut from mainstream blockbusters to more obscure foreign or arthouse projects — with enough in the latter category to offer up some useful suggestions for your Netflix queue.¬†Read his list after the jump.

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What’s the Matter With Margaret?

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Kenneth Lonergan is the playwright behind This is Our Youth, The Waverley Gallery and Lobby Hero; the script-fixer that lent a hand to Gangs of New York and – incredibly – Rocky and Bullwinkle; and the writer-director of You Can Count on Me and Margaret. Not to put too fine a point on it, Lonergan is a very accomplished writer and, as displayed by You Can Count on Me, a fine director.

What, then, has happened to Margaret? Filmed in late 2005, Lonergan’s second film was to star Anna Paquin, Mark Ruffalo and Matt Damon. The shoot seemed to go very well, and early signs were fantastic. Then, Lonergan stepped into the editing room and things started to wobble somewhat. Thanks to a series of legal documents that have come into the possession of The LA Times, the horror stories of what seems to be one of the most absurdly protracted post production nightmares, can finally come to light.

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