MZS
Roger Corman's Greatest Legacy Was Giving So Many People Their Big Break
A brief (yet still incredibly long) list of people who were given their first big break in the film business by the late Roger Corman.
A brief (yet still incredibly long) list of people who were given their first big break in the film business by the late Roger Corman.
The star of Late Night with the Devil discusses his lifelong love of horror movies—and how they’ve helped him navigate the terrors of the world and the ones inside himself.
An annotated table of contents spotlighting all the writers contributing to Women Writers Week 2022 at RogerEbert.com.
An annotated table of contents spotlighting all the writers contributing to Women Writers Week 2021 at RogerEbert.com.
A tribute to the star of The Avengers and Game of Thrones.
The latest on Blu-ray and streaming includes a Criterion edition of Portrait of a Lady on Fire and 4K restorations of Gladiator and Jaws.
Matt writes: Today marks the final day of National Hispanic Heritage Month, which began on September 15th. In addition to our roundup of coverage celebrating the work of Hispanic filmmakers, particularly Gregory Nava's "El Norte," in this special edition of Thumbnails, make sure to read our contributor Aaron Aradillas' new interview with the legendary actor Edward James Olmos about his work in "Stand and Deliver," "Battlestar Galactica" and much more.
The latest on Blu-ray and DVD, including Skyscraper, Ant-Man and the Wasp, Sorry to Bother You, and more.
A review and appreciation of Joe Dante's Matinee, on Special Edition Blu-ray this week.
A tribute to the late horror filmmaker, George Romero.
The latest and greatest on Blu-ray, including Popstar, Neighbors 2, Captain America: Civil War, Blood Simple, Cat People and many more.
Sheila writes: In the films of Spike Lee, the characters often break the fourth wall and speak directly into the lens. There's a break in the action, and the dialogue spoken to the camera feels almost like it's from a documentary, with the "talking head" giving us more information for context. In this cut from the wonderful video-site "Press Play," watch the best To the Camera moments from Spike Lee's films.
An obituary for the great Christopher Lee.
Sheila writes: Those of you attending Ebertfest, a note from Chaz:We will have our annual Ebert Club Meet and Greet at the Roger Ebert Film Festival, Thursday, April 24, 2014 at 8 am - 10 am in the Illini Union, General Lounge. Also invited are the Far Flung Correspondents and writers from Rogerebert.com. I look forward to seeing you there!
An excerpt from Adam Nayman's new book "It Doesn't Suck: Showgirls".
Bob Calhoun uses a new book, "Shock It to Me: Golden Ghouls of the Golden Gate", to track down the details of the horror movies of his childhood.
David Cronenberg's "The Fly" (1986) is among a very few movies that give me a sense of hesitation as soon as the credits appear. I've owned a couple of home video versions since its release twenty some years ago, according to the technology in favor, but I doubt I've played them more than a handful of times (including that for the purpose of this review). For such a well made and entertaining movie this is particularly odd but among the great horror flicks (it certainly fits the bill) this one hits you a little bit below the belt for enjoyment's sake."The Fly" deals with Seth Brundle (Jeff Goldblum), an eccentric inventor who meets reporter Veronica Quaife (Geena Davis) at a science convention and (somewhat unwillingly) spills the beans about his latest creation, one that will "change the world as we know it". The contraption in question is a teleportation system for inanimate objects, which is basically the same concept used for getting characters on and off the Starship Enterprise in "Star Trek". With Veronica alongside him to document his progress Seth is able to take the next step, giving his invention the ability to transport live beings. After a failed attempt (that's putting it mildly!) with a baboon that should have given him some pause, Seth unwisely decides to rush testing the system with himself as passenger, unaware that a seemingly innocent house fly has hitched a ride alongside him (at least they weren't joined by that other baboon!). After the initial apparent success, an oblivious Seth will find himself gaining incredible agility and strength but will progressively become a mean, selfish, stench-filled and tragic individual, illustrating in the process the nature of those insects in much higher detail than we would ever want to learn. By film's end we'll end up seeing these creatures in a very different light and Seth will not be able to regret enough the fact that he did not provide his device with an UNDO command.Much like he previously did in "The Dead Zone" (1983), Cronenberg creates a very convincing couple for the audience to identify with before tragedy strikes. The difference in "The Fly" is that he doesn't show them the slightest bit of mercy (the fates of Christopher Walken and Brooke Adams in "The Dead Zone" amounted to a happy ending in comparison). This doesn't necessarily make one movie better than the other (though "The Dead Zone"'s conclusion is truly sublime). Both entries were treated correctly according to their very different subjects but the ending in "The Fly" is not quite as easy to appreciate. The audience here is even taunted for a while with the possibility that the experiment's results are going to be for the best and that makes the lead's fate all the more painful. What can you say about a movie in which the villain of the piece (Davis' egotistical and sexist boss played by John Getz) suddenly finds himself becoming the hero? Perhaps that Getz' initial evil was no match for the enormity and wrongness of the situations in this movie."The Exorcist" (1973) aside, I can't think of another horror film as
Sizing up "The Wolf of Wall Street"; our weird tendency to sexualize technology; Dame Vengeance aka Judith Anderson; beefcakes are the new cheesecakes; Ty Burr on "Inside Llewyn Davis."
Sheila writes: Today, October 30, is the 75th anniversary of the historic 1938 "War of the Worlds" broadcast, presented by Orson Welles and his merry band of Mercury Theater friends. In Peter Bogdanovich's book "This is Orson Welles", Welles tells Bogdanovich: "Six minutes after we’d gone on the air, the switchboards in radio stations right across the country were lighting up like Christmas trees. Houses were emptying, churches were filling up; from Nashville to Minneapolis there was wailing in the street and the rending of garments. Twenty minutes in, and we had a control room full of very bewildered cops. They didn’t know who to arrest or for what, but they did lend a certain tone to the remainder of the broadcast. We began to realize, as we plowed on with the destruction of New Jersey, that the extent of our American lunatic fringe had been underestimated." Bogdanovich later says to Welles, "The Martian broadcast didn’t really hurt you at all. Would you say it was lucky?" Welles replied, "Well, it put me in the movies. Was that lucky? I don’t know." Here is the original radio broadcast in all its mockumentary glory.
Female Pleasure Is the Real TV Taboo; Blue Is the Warmest Controversy; Condescending to Vincent Price; Why Journalists Should Learn to Code; an MFA writing workshop for the Bible.
Sheila writes: There's something heartbreaking about a dilapidated movie theater. With the whole world going multiplex, the quirky independent movie theaters are quickly disappearing. Moscow photographer Sergey Novikov spent two years traveling around in Moscow and St. Petersburg, seeking out the abandoned movie theaters built in the Constructivist style of architecture, so familiar to him in his youth. The result is a series of haunting photographs he calls "Breathless". In a fascinating email interview, Novikov says: "I perceive them as rare, unique objects and often the movie theater is the only handsome building in a district so my urge was just to keep them in a time, place and memory through documenting. These cinemas are frozen in time, being parted from movies but their identity preserved; a frontispiece and a name. Destruction sometimes happens quickly - yesterday it was in front of you and today it is already demolished. They are breathless. Vanishing scenery."