The seventies were a glorious time for filmmakers. From one film to the next, directors such as Hal Ashby, Jerry Schatzberg, Bob Rafelson (and more) made intoxicating works full of honesty and truth, achieving powerful emotion through rich characters and relatable situations. Through a career of mostly fantastic films, writer/director Alexander Payne has proven he paid close attention to the great auteurs of that fruitful

(this is Screen Comment's second review of "Nebraska") American indie cinema also has its giants. Just like his cohorts Wes Anderson and Jason Reitman Alexander Payne has, after directing only a few movies, spearheaded this other cinema in which America and its history fill the screen and the script. As it were in “Nebraska” America is the focus. Not the one that’s portrayed by superheroes but indeed the one that we've come to gradually forget.

In “Nebraska” Omaha-born director Alexander Payne is right back where he belongs. His last film, “The Descendants,” (REVIEW) aimed to capture the secret turmoil of seemingly-zen Hawaiians—misery in paradise—but it registered more like picture-perfect George Clooney sulking through a picture-perfect vacation. Even at its most poignant, the tropical setting made the pathos feel forced. Here, the desolation of the surroundings

Alexander Payne's new film "Nebraska," a melancholy road movie shot in black and white with some hilarious moments, is a worthy contender for a Grand Prix or a Jury prize. And yet, to say that I was less than enthusiastic going to the 8:30 screening of this film is an understatement: I wasn't a fan of "The Descendants" and a black and white movie, well, it's a risky proposition for any film.

Pauline Kael famously stated that great films are rarely perfect films. Do we ever wonder about the opposite? Are perfect films rarely great films? As the ultimate easy swallow, The Descendants, the latest release from Sideways writer/director Alexander Payne, has been practically pieced together by magical gold statuettes in the advanced laboratory of the Academy of Motion Picture Arts and Sciences. It’s been, why, since