Mr. Peabody & Sherman
This adaptation of Jay Ward's 1960s cartoon is sweet and bombastic, clever and weirdly reactionary.
Roger Ebert became film critic of the Chicago Sun-Times in 1967. He is the only film critic with a star on Hollywood Walk of Fame and was named honorary life member of the Directors' Guild of America. He won the Lifetime Achievement Award of the Screenwriters' Guild, and honorary degrees from the American Film Institute and the University of Colorado at Boulder.
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Tom Shales served as TV critic of The Washington Post for 25 years, winning the Pulitzer Prize for criticism in 1989. He left the once-proud paper in Ruins. Shales also spent two decades reviewing movies for NPR's Morning Edition and is the coauthor of two bestsellers: "Live from New York," on "Saturday Night Live," and "Those Guys Have All the Fun," on ESPN. No wonder he's tired.
Our Far-Flung Correspondents are cinephiles from all over the world, hand-picked by Roger Ebert to write about movies from their unique international perspectives. They include contributors from (alphabetically) Brazil, Canada, Egypt, India, Great Britain, Mexico, the Philippines, South Korea, Turkey and the U.S. They converge every year at Ebertfest.
Named after the David Cronenberg film, this is the blog of former RogerEbert.com editor Jim Emerson, where he has chronicled his enthusiasms and indulged his whims since 2005. Favorite subjects include evidence-based movie criticism, cinematic form and style, comedy, logical reasoning, language, journalism, technology, epistemology and fun. No topic is off-limits, but critical thinking is required.
Columbia Pictures shouted "fire!" in its own crowded theaters.
Why do guys in the movies usually think they have to pay for the
And so, all of a sudden, Kevin Costner is a schmo. The hero of
Women all over the country are going to see "Thelma and Louise" with a rare enthusiasm, despite Hollywood's conventional wisdom that men make most of the moviegoing decisions. To understand how they're connecting with the movie, look at an afternoon screening in a theater like the 900 N. Michigan complex. The largely female crowd isn't made up of teenagers, but more mature generations - married women, professionals, older women, visitors to the city. They love this movie. They cheer it, they get teary-eyed, and they bring their friends to see it.
CANNES, France -- The French New Wave was a rebirth of French films in the early 1960s, and the German new wave represented the same process in Germany in the 1970s. Now black American filmmakers are developing a new stylistic and personal vision that reached critical mass at this year's Cannes Film Festival. In May of 1991, here in the incongruous setting of the French Riviera, far from the urban settings of most of their films, the black new wave came of age.
Fifty years ago this year, Orson Welles had made what would eventually become known as the greatest movie of all time. But he was having trouble getting it released.
An ape uses to learn a bone as a weapon, and this tool, flung into the air, transforms itself into a space ship--the tool that will free us from the bondage of this planet. And then the spaceship takes man on a voyage into the interior of what may be the mind of another species.
Ebert's Best Film Lists1967 - present
If a society does not allow its women to speak to men other than their husbands, or own property, or vote, or drive cars, or appear in public unless covered in traditional dress from head to toe, or take trips without written permission, or have any rights to their children, and if that society nods approvingly when a husband beats his wife when she disobeys these rules--is that society sexist? Or are we racist to think so?
Ebert's Best Film Lists: 1967-Present