Sometimes, it feels as if we are eavesdropping on day-to-day conversations rather than just hearing the usual litany of platitudes and regrets.
* 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.
Meet the critics attending Ebertfest 2015.
Minda Kaling; A Japanese remake of Sideways; Superblogs and entertainment journalism; An interview with legendary documentarians; Paul Schneider interview.
Richard Roeper reflects on his long friendship and professional association with Roger Ebert.
Jason Bateman talks about directing, working with kids, and shaking up his nice-guy image for an R-rated comedy.
An exhaustive list of Top 10s by RogerEbert.com contributors.
Missing Roger's Oscars prognostications and his top ten lists. And making a list of my own.
The Oscars race has hit a holiday lull. It's a good time to pause and take stock of nominations.
Critics groups from around the country are giving awards. What impact do these awards have on the Oscar race, and how useful are they as predictors?
Writer Susan Wloszczyna responds to our Movie Love Questionnaire.
Sheila writes: Todd Sanders is a self-taught neon sign artist. Roadhouse Relics, the gallery of his work in Austin, Texas, is filled with his beautiful vintage-inspired signs. His designs are all hand-drawn. He collects old magazines from the 1920s, 1930s, etc., to get inspiration for his neon signs. He does custom signs as well. You can check out Sanders' work, bio, and press kit at Roadhouse Relics. Neon brings up all kinds of automatic images and associations: seedy hotels, burlesque joints, cocktail bars. His signs evoke those images, but much more. For instance, look at his beautiful "Fireflies In a Mason Jar".
The racial empathy gap in moviegoing; the struggle to preserve old videotape; how critics view the "bad mothers" in "The Killing"; candidates for the best modern black-and-white films; Questlove reflects on the Trayvon Martin verdict.
The New York Times' David Carr admits that Glenn Greenwald is a journalist; Criterion Collection appreciates Alex Cox's Repo Man; poets go to the movies; James Franco's never-ending navel-gaze; David Edelstein dismantles The Way, Way Back; Kerry Washington on the cover of Vanity Fair; Dennis Hopper documentary.
Now that the Cannes Film Festival is over, critics Ben Kenigsberg and Michał Oleszczyk take a look back over the festival.
Ben Kenigsberg recaps Cannes's post-awards press conferences and closing-night party.
Barbara Scharres reports on the winners at the Cannes Film Festival.
Bruce Dern and Will Forte reminisce about their father-son road trip in Alexander Payne's "Nebraska."
Alexander Payne's "Nebraska" brings black and white, to the competition, while "Omar" delivers moral shades of gray to the Palestinian/Israeli conflict and "Michael Koolhaas" looks good in the long shots, but needs more emotional subtlety.
Ben Kenigsberg looks forward to the parallel programs at this year's Cannes Film Festival.
Barbara Scharres sets the stage the 66th annual Cannes Film Festival.
Beasts of the Southern Wild
• Chaz Ebert in Cannes
The Cannes 2012 Palme D'Or was indeed won Sunday by Michael Haneke for "Amour," the best film in the festival. And what an emotional moment to see its two stars, Jean-Louis Trintignant and Emmanuel Riva walk up on stage with Haneke to accept the award. A juror, Jean-Paul Gaultier said they gave the most emotionally real performances of any film in the festival. He said he bawled his eyes out. This was the second time in three years that Hakeke won the Palme, after "The White Ribbon" in 2009.
And surprisingly, three out of four of my award speculations also won prizes. However, if you listened carefully to the reasoning of the Jury you can conclude that actually all four of the lineup would have won.
The sun is finally shining, and Cannes becomes a resort town once again. Aside from the thousands of film industry visitors, this place is clogged with tourists of all nations and in all manner of beach attire, many of them senior citizens. As far as I can tell, the main thing they do is promenade.
They stroll up and down the Croisette on the waterfront side and then the window-shopping side. They walk up and down the town's main drag, the Rue d'Antibes. They eat ice cream cones; they buy red, caramelized peanuts hot from the vendors' pans, and gummi bears and licorice; they watch costumed mimes perform under the palm trees; and they walk their little ankle-biter dogs, of which there are hundreds. It's a people-watching festival in itself.
Another invitation appeared in my mailbox. This one was on heavy cream-colored paper with fancy gilt lettering. As a result, I went to "East Meets West," an afternoon conversation between Hong Kong director Stanley Kwan, best known for "Rouge" and "Center Stage," and Cannes jury member Alexander Payne, recent Oscar winner for "The Descendants." Sponsored by The Film Foundation, it took place in a pavilion at the beach of the Majestic Hotel, where the sound of waves lapping at the sand in the background was a constant reminder of the setting.
Above: Bill Murray, madras paparazzo. (AP photo)
The pizza they make in Cannes is unique: a less-is-more creation that is flat and crispy, thoroughly Mediterranean and packed with Riviera flavor. Alleged "European-style" pizzas peddled in the U. S. never seem to achieve that micron-thin crust covered by the faintest wash of tomato sauce, a mere garnish of cheese, and earthy ingredients that can include artichokes or thinly sliced eggplant, generous oregano, and tiny Cannes-grown olives (complete with pits). It's seared in an oven at an impossibly high temperature so that that everything melds into a glorious crackly flatbread that has nothing in common with the doughy excess of American pizza.
The opening day of the 65th Cannes Film Festival is a little like that local pizza, tasty and unique, providing a full range of experiences with just a few carefully chosen ingredients. The various competition events will be in full swing starting tomorrow morning, so today functions as a bit of an appetizer.
Even as festival workers were putting the final touches on the red carpet covering the famed steps up to the Grand Theater Lumiere for tonight's gala festival opening, the opening film, Wes Anderson's "Moonrise Kingdom," was previewing for the international press at the Debussy Theater next door. Although Anderson is the darling of many critics, the only film of his that I've previously warmed up to was his droll animated feature "Fantastic Mr. Fox." "Moonrise Kingdom" had me enthralled from the first frame, and made me think that I need to take another look at his earlier work.
SANTA MONICA, Ca. -- "The Artist," a nearly silent film, made most of the noise here Saturday at the Independent Sprit Awards, wining for best picture, best actor, best director and its cinematography. It was the latest in a series of good omens for the surprise hit, which seems headed for victory at the Academy Awards on Sunday night.
It's a sunny, unseasonable 80 degrees as the 2012 Santa Barbara International Film Festival kicks in, but all I want is to be indoors. When you peer at a schedule listing nearly 200 films jammed into 10 days, and you just can't wait, you know you're an addict. This is my third SBIFF so I recognize the signs.
Suddenly each January, there's an extra bustle in this appealing, laid-back town. Downtown on lower State Street, trucks appear bearing vivid banners, soon to be festooned overhead. Special lights and rigging go up at 2 central venues - the precisely restored, historic Lobero and Arlington Theatres. Locals watch to see whether Festival Director Roger Durling changes his hair: one year it was spikey, another year purple. This time it's rather like Heathcliff - longer, romantic.
It doesn't take a crystal ball to see that this year's Academy Awards will amount to a shootout between "Hugo," with 11 nominations, and "The Artist," with 10. Fittingly, they are two movies inspired by love of movie history, the first about the inventor of the cinema, the second about the transition from silent films to talkies.