Some of it is too broad, and I wish it dug a little deeper at times, but this is one of those rare inspirational films…
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.
Chaz is the Publisher of RogerEbert.com and a regular contributor to the site, writing about film, festivals, politics, and life itself.
Matt Zoller Seitz is the Editor-in-Chief of RogerEbert.com, TV critic for New York Magazine, the creator of many video essays about film history and style, a finalist for the Pulitzer Prize in criticism, and the author of The Wes Anderson Collection. His writing on film and TV has appeared in The New York Times, Salon, New York Press, The Star-Ledger and Dallas Observer. (Banner illustration by Max Dalton)
Check out the Chicago Sun-Times Special Section: Honoring Roger Ebert
I went to see the "Robots" film with my wife and, although the film is stunning visually and in conception, we both felt uncomfortable while watching. We ended up leaving after 30 minutes. Here were the problems we had with this movie:
After seeing the new "Star Wars" movie projected on film, I wrote that the images had "a certain fuzziness, an indistinctness that seemed to undermine their potential power." But I knew the film had been shot on digital video, and that George Lucas believed that it should preferably be seen, not on film, but projected digitally. Sunday I was able to see the digital version, and Lucas is right: "Star Wars: Episode II--Attack of the Clones" is sharper, crisper, brighter and punchier on digital than on film.
The most enchanting film of the year is going down in flames. "Babe: Pig in the City," which will make a surprising number of critics' "10 best" lists, has been crushed by "A Bug's Life" and by wrongheaded publicity. It's outta here.
The way it usually works, you pay for the movie, and the coming attractions are free. But fans are planning to pay admission today just to be among the first to get a 130-second preview of the next "Star Wars" movie.
The films of John Cassavetes come in a deluge of words and emotions, of grand and sad gestures, of characters who want to love and don't know how. His people are often balanced between the terror and exhilaration of manic-depression. Since he uses the same friends and family members again and again, since he sometimes uses his homes as locations, there is a feeling sometimes that he's cutting close to the bone: His movies are the autobiography of his emotions.
I've been watching those new Pizza Hut commercials with a mounting sense of unease. The ones where Donald and Ivana Trump discuss the new "stuffed crust pizza" design. Intended for those who like pizza but don't like the crust, this overhauled design wraps the crust around a string of mozzarella cheese.
It is an open secret that the "spontaneous exchanges" on talk shows are somewhat planned in advance. What has surprised me is how often the hosts depart entirely from the script. In many appearances on the Leno, Carson and Letterman programs, I would estimate that less than half of what happened was foreseen, and in some cases entire appearances were ad-libbed. The "pre-interview" is more like a safety net.
Filmgoers should be cheered by the news that an Australian film named "Sirens" is doing strong business at the nation's box offices. It is loosely inspired by the life and times of a colorful painter named Norman Lindsay, who shocked his country in the 1930s with an unconventional lifestyle that included large numbers of beautiful women who were his models, muses and, occasionally, lovers.
I have seen the future of television, and I want one. I want a High-Definition Television system for my living room, even if I have to build a living room big enough to accommodate it.