"So here’s the challenge: Tell the story of a disturbing legacy of sexual violence systemically perpetrated by one man, but perpetuated by an industry that delivered potential victims to the door of his office almost daily. Any takers? Yeah… Hollywood moguls aren’t exactly leaping at the chance to examine such behavior off-screen, let alone on-screen. It’s why “Bombshell,” Jay Roach’s electrifyingly empathetic new film, feels so necessary and cathartic. Roach directs brilliant actors (Charlize Theron, Nicole Kidman, Margot Robbie) as brilliant journalists who blew the whistle on Roger Ailes (John Lithgow), that special brand of psychopath who was not only their abuser but also responsible for their careers. With deft documentary-style camera work, Roach expertly unfurls the vipers nest of cult-like psychosis that permeates every floor of Fox News. His perfected technique of blending existing footage with stunning re-creations make a scene like Megyn Kelly (Theron) and Trump at the Republican Primary debate somehow more realistic than when it actually happened. But rather than leaning into satire, Roach weaves in enough humor and humanity that in some moments “Fox News” could be any office. It’s not a political film. It’s a film about women. Roach understands that workplace sexual assault is not about how you vote or what news channel you watch or even about sex. It’s about fear and power. Human emotions wielded in offices around the country every day. “Bombshell” is the result of a compassionate filmmaker who knew the responsibility of telling this tough but important story."

"I saw this movie when it first came out and at that point I’d never see a horror film, believe it or not! I had a girlfriend at the time, she was an anthropology student, and she said, ‘I heard there’s this new film called Night of the Living Dead, c’mon lets go.’ Eventually we left and when we got there the theatre was buzzing before the film even started. And then it starts, and we’re in the cemetery with the brothers and sisters bickering and then the zombie lurches towards them! Some people are screaming, some were saying the lines of the characters and suddenly I was swept into it and jumping and laughing and afraid, and I realised that this guy Romero was incredible. “It also made me realise that with a genre film, as long as it scared you, you could say anything; about politics, about psychology. It made me realise as well that fear is one of the primary thresholds you experience things through. Fear of anything – even sex – is scary! The first time you do it you’re like, ‘Oh my God, what am I doing? Am I going to fail?’ And you get through it and you realise it’s a wonderful thing. That’s what’s great about the horror genre is that you’re getting a load of people together in the cinema at the same place and the same time, having them all experience extreme fear, and come out alive at the end. It’s an uplifting experience and there’s a sense of elation."

"""What else do I like? A Godard film called Prenom Carmen, which sounds like I’m just saying that to be cool, but it’s actually one of my favorite films. I think it’s the best Godard film. It’s like his version of Carmen the opera, one of his films from the eighties. In terms of just pure filmmaking and manipulating an audience, it kind of starts out as a farce, as a complete, stupid farce, with this bank robbery; but it’s really, really…Godardian, with kind of a stupid humor that’s so random. Only he could make it, mixed up with these kinds of philosophical elements. It starts out with one of these bank robbers, these students, and she starts to sleep with one of the guards; she’s having sex with him in the bank, and he pretends to arrest her and they run away together. And he wants to be part of her gang. It’s all so completely ridiculous. And then suddenly, halfway through, it turns into the most heartbreaking, serious thing that you’ve ever seen — out of nowhere! — and you’re suddenly so attached to these characters, which you weren’t before, because it seemed like a stupid student film. They have this secondary story where they have a string quartet playing the soundtrack which runs in the other story, but they film them during rehearsal, just doing really close up things with them playing cello and stuff, and it’s about the relationship with the conductor and this girl, the cellist — and it’s completely random to the film, but it’s incredible."""

"I blame this movie for starting me smoking again when I was in film school in the eighties. After becoming so smitten with all that Anna Karina embodies, I decided to wear blue tights with red skirts and smoke, constantly. Needless to say it did not turn me into Anna Karina—my tights were the wrong shade of blue, and I was hacking like an old granny at the Santa Anita racetrack. Still, I loved the film, wildly, and love her in it. What is so gorgeous about this DVD is, firstly, Anna herself, and nextly, the color is like powdered paint, soft yet vibrant—not just the gorgeousness of everything Karina wears but also the murals on the walls of the strip club where she works, the jukebox from which Charles Aznavour sings. The exteriors, often shot from high angles on rooftops, have the feel and texture of what Paris must have been at that moment. I saw in the booklet that this film was very special for Jean-Luc Godard and Karina. They were in love, they wed, she was pregnant with their baby, and you can feel the exuberance of the romance in this movie. It’s absolutely exhilarating to me, and also incredibly funny. The other amazing feature on the DVD is a short documentary on Anna Karina made in 1966, clearly to promote Anna, the musical Serge Gainsbourg wrote for her. Serge closes the short, talking in the most brazenly sensual, big, bold close-up about Anna’s humor, her voice, and her sex appeal . . . It’s scrumptious!"