Kingsman: The Golden Circle
“Enough,” one thinks, but “enough” does not exist in the philosophy of this movie.
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
An interview with actor Michael Cera, star of "Person to Person" and "Lemon."
A report on the latest from Naomi Kawase and the last from Abbas Kiarostami.
A recap of the 2016 Chicago International Film Festival.
Matt writes: Abbas Kiarostami, who passed away July 4th at age 76, was one of the great masters of the cinematic art form. I'll never forget the experience of watching his 1990 landmark, "Close-Up," in its pristine Criterion edition, or becoming entranced by his 2010 masterwork, "Certified Copy," when I first saw it on the big screen. Patrick Z. McGavin wrote a beautiful tribute to Kiarostami, as did Godfrey Cheshire, who reflected on his friendship with the icon. Various staff members at RogerEbert.com also pitched in to offer their own remembrances in a lovely multi-voice piece.
Contributors to RogerEbert.com celebrate the masterful films of the late Abbas Kiarostami.
Godfrey Cheshire on his encounters with the late Abbas Kiarostami and the director's films.
A tribute to the late, great Abbas Kiarostami.
A new breed of female lead; A tale of two Fishers; Penn's hate-watch for the ages; "Paterson" is perfection; "The Salesman" marks Iran's post nuclear deal cinematic resurgence.
A look at the devolving marketplace in America for foreign language films.
An interview with writer/director/editor Stephen Cone about "Henry Gamble's Birthday Party."
The movie questionnaire and 2015 reviews of RogerEbert.com film critic Godfrey Cheshire.
A review of Ramin Bahrani's Goodbye Solo from a far-flung correspondent.
An excerpt from "Asghar Farhadi: Life and Cinema" by Tina Hassannia.
Criterion partners with Martin Scorsese to offer amazing treasures of world cinema on Blu-ray and DVD.
Brian Doan wonders if Mark Cousins' "The Story of Film," showing over 15 weeks on TCM this fall, deserves all the praise it has received.
"Only God Forgives" commits the unforgivable sin of being boring, "Muhammad Ali's Greatest Fight" is about old white men arguing about race, and "Blue is the Warmest Color" takes its time to follow the transition from uncertain teenager to knowing adult.
Dedicated to memories of Roger Ebert, for the simple reason that talking about movies is so thrilling. He did not like lists, but I love his lists.
Marie writes: The countdown to Christmas officially begins the day after Halloween, which this year lands on a Wednesday. Come Thursday morning, the shelves will be bare of witches, goblins and ghosts; with snowmen, scented candles and dollar store angel figurines taking their place. That being the case, I thought it better to start celebrating early so we can milk the joy of Halloween for a whole week as opposed to biding adieu to the Great Pumpkin so soon after meeting up again...
When: Through Oct. 25Where: Screenings at AMC River East 21, 322 E. Illinois St. (unless noted).
When: Through Oct. 25
The big loser in the 2012 Sight & Sound critics poll is... funny. OK, we know there are no losers, only winners! But, still, with the obvious exceptions of "Citizen Kane" and "Rules of the Game," this decade's consensus choices for the Greatest Films of All Time are not a whole lotta laughs, even though they're terrific motion pictures. There's not much in the way of chuckles or joie de vivre to be found in "Vertigo," "Tokyo Story," "Man with a Movie Camera," "The Searchers," "The Passion of Joan of Arc"... At least "Sunrise," "2001: A Space Odyssey" and "8 1/2" have healthy senses of humor, but "Kane" and "Rules of the Game" are the only movies in the top 10 with the propulsive vitality of (screwball) comedy. They are flat-out fun (even if they are regarded as "classics"). And with "Kane" bumped to #2 this time, The List has become, to paraphrase a great comedy from the 1980s, one less funny.
I say this as someone who believes that comedy is everything, and that drama is lifeless (or at least emotionally stunted) without it. Some might argue that comedy without drama is also limited and superficial, but I think comedy is more profound and complex -- and more difficult to pull off successfully. I can name plenty of comedies that capture a mature vision of human existence (if you're into that kind of thing -- like all of Buster Keaton), but a drama that (artificially) excludes humor is feels false and inert to me. [No, I'm not saying the other movies in the Top Ten are humorless or lack cinematic exuberance; just that their energy is not primarily comedic, as i feel Welles' and Renoir's are. To some extent, I'm talking about the overall tendency to value "seriousness" above "humor" in these sorts of exercises.] As for the 2012 Sight & Sound Top Ten, compare it with 1982 ("Singin' in the Rain," "The General"), 1992 ("L'Atlante") and 2002 ("Singin' in the Rain"). The lack of comedy on the new list hearkens back to the Somber Ol' Days of the 1950s, '60s and '70s. As somebody once said: Why so serious?
We all live in our own little subcultures. In mine -- loosely categorized as international film-festival cinephiliacs -- big-name contemporary filmmakers such as Apichatpong Weerasethakul, Abbas Kiarostami, Michael Haneke and the Dardennes brothers (yes, they've all won the Palme d'Or at Cannes) are huge, huge stars. In fact, some of us, whether we like them or not, feel they are overexposed, on the verge of becoming more than famous: ubiquitous. Like Kardashians or something. (I'll be honest: I don't know what a Kardashian is, but I keep hearing the term.) I mean, good god, the Dardennes have been all in your face throughout the 21st century, making movie after movie and picking up awards everywhere you look. And don't even get me started on Kiarostami. That guy became the international flavor-of-the-film-fest-cicruit in the 1980s, achieved his biggest commercial success in 2010, and has a new film in competition at Cannes right now.
I suppose it's true that, to most people outside our own little coterie, the Cannes Film Festival means just about nothing. Its impact on the American box office is negligible (although Kiarostami's Palme-winner "Taste of Cherry" grossed a pretty impressive $312 thousand in the US in 1998. That's about what "Marvel's The Avengers" took in while you were reading the last sentence). I guess fame -- or importance -- depends on your perspective.
A few things got me to thinking about this. One was Manohla Dargis's NY Times dispatch from Cannes. I love her observations:
Sunday dawned with a dark and threatening sky and a chill in the air, continuing the dreary weather trend of the past two days. It's a day of heavy-hitters here at Cannes, with two greatly anticipated films by major directors premiering in competition: "Amour" ("Love") by Austrian Michael Haneke in the morning; and "Like Someone in Love" by Iranian Abbas Kiarostami in the evening. Is the weather an omen or just weather? We'll see.
Neither of today's competition films was made in the director's home country. Haneke made "Amour" in France with French stars, but then he has more frequently worked in France in recent years. Kiarostami made his previous feature "Certified Copy" in Italy with an international cast, but "Like Someone in Love" was made in Japan with a French producer, a first for the globe-trotting director.
Michael Haneke has made his reputation on a uniquely transgressive form of cinema. Films, including "The White Ribbon," "The Piano Teacher," and "Funny Games," cross boundaries and break taboos, all the while drawing the audience into complicity with moral compromises and sometimes vile acts. "Amour" represents a new and more gentle and affecting take on that artistic strategy.
In "Amour," veteran French stars Jean-Louis Trintignant ("A Man and a Woman," "My Night with Maud") and Emmanuelle Riva ("Hiroshima Mon Amour") play Georges and Anne, a married couple in their 80s. They are retired music teachers who live in a lovely high-ceilinged apartment, and their comfortable lives are steeped in music and the arts. Their adult daughter Eva (Isabelle Huppert), also a musician, has a busy life of touring with her British husband.
• Chaz Ebert at Cannes
Dear Roger: "We were once indivisible from every atom in the cosmos," and that is how I feel when I am sitting in the Palais watching movies at Cannes with a screen spread out as wide as the galaxy, the audience circling around like protons and neutrons breathing as one in empathy.