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Annabelle: Creation

That’s when you know a movie is really working. When it reduces grown men to single syllables.

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Ballad of Narayama

"The Ballad of Narayama" is a Japanese film of great beauty and elegant artifice, telling a story of startling cruelty. What a space it opens…

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The Cannes winners, as sort of expected

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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.

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The first slice of Cannes 2012

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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.

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#89 November 16, 2011

Marie writes: I was browsing the 2010 National Geographic Photography Contest Galleries and came upon this amazing shot - click to enlarge!

The Birth Of Earth: Photo by Terje Sorgjerd"Getting close or getting too close? Photo taken of the Eyjafjallajokull volcano eruption that would grind most of europe air traffic. This is the scariest moment in my life, and also the most beautiful and frightening display of raw force I have ever seen." - Terje Sorgjerd

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#81 September 21, 2011

Marie writes: Roger recently did an email Q&A with the National Post's Mark Medley, which you can read here: "Roger Ebert's voice has never been louder".  And in a nice touch, they didn't use a traditional head-shot photo with the article. Instead they went old school and actually hired an illustrator. Yup. They drew the Grand Poobah instead!  And here it is...pretty good, eh?

Illustration By Kagan Mcleod for the National Post(click to enlarge)

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Top secret leakage from my 2010 Muriels ballot!

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It's a wrap for the 2010 Muriel Awards, but although the winners have been announced, there's still plenty of great stuff to read about the many winners and runners-up. ('Cause, as we all know, there's so much more to life than "winning.") I was pleased to be asked to write the mini-essay about "The Social Network" because, no, I'm not done with it. (Coming soon: a piece about the Winkelvii at the Henley Gregatta section -- which came in 11th among Muriel voters for the year's Best Cinematic Moment.)

You might recall that last summer I compared the editorial, directorial and storytelling challenges of a modest character-based comedy ("The Kids Are All Right") to a large-scale science-fiction spectacular based on the concept of shifting between various levels of reality/unreality -- whether in actual time and space or in consciousness and imagination. (The latter came in at No. 13 in the Muriels balloting; the former in a tie for No. 22.) My point was that, as far as narrative filmmaking is concerned, there isn't much difference. To illustrate a similar comparison this time, I've used a one-minute segment out of "The Social Network" (Multiple levels of storytelling in The Social Network). You might like one picture better than the other for any number of reasons, but I find their similarities more illuminating than their differences:

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