The Danish Girl
The Danish Girl lacks an immediacy and vibrancy, as well as a genuine sense of emotional connection.
* 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 article on Ebertfest 2016 passes available for purchase on November 2nd.
A preview of the 33rd Reeling: Chicago LGBTQ+ International Film Festival.
A report on "India's Daughter," "Requiem for the American Dream" and "The Three Hikers" at AFI Docs 2015.
A report from Cannes 2015 on the latest films from Paolo Sorrentino, Shin Su-won and Hou Hsio-hsien.
Passes for Ebertfest 2015 will go on sale Saturday, November 1st.
Is feature filmmaking dead?; Gripes with "This Is Where I Leave You"; Remembering Peter von Bagh; "Raiders of the Lost Ark" in black-and-white; B. Ruby Rich on "Life Itself."
FX launches three dramas in the next three weeks—"Tyrant," "The Bridge," "The Strain"—with mixed results.
Why aren't superhero movies more special?
The Chicago Sun-Times reports on the 2014 Ebertfest, including appearances by Oliver Stone & Spike Lee.
A collection of quotes from filmmakers and critics honoring Roger's memory.
Three great guests—Michael Barker, Haifaa Al-Mansour and Ramin Bahrani—join the lineup of Ebertfest 2014.
Missing Roger's Oscars prognostications and his top ten lists. And making a list of my own.
Tony Leung discusses his preparation for the role of the most famous martial arts master of the 20th century in Wong Kar-Wai's "The Grandmaster."
Susan Wloszczyna wonders if women at the helm might be just the thing to revitalize the foundering, repetitive comic-book movie genre.
Ben Kenigsberg makes his predictions for Sunday night's Cannes awards.
Power is rarely discussed at Cannes, and it’s ostensibly all about art, although careers can hang on critics’ approval, and whether films are sold here, and to how many regions of the world. The annual jury press conference on the opening day is the first and foremost love-fest in which the concept of competition is downplayed and jurors find novel ways to sidestep the question of comparing one film to another in order to award the Palme d’Or in ten days.
Ben Kenigsberg looks forward to the parallel programs at this year's Cannes Film Festival.
This year's Outguess Ebert contest seems a little like shooting fish in a barrel. For the first time in many a year, maybe ever, I think I've guessed every one correctly.A few years ago, I came across an article about the newly identified psychological concept of Elevation. Scientists claim it is as real as love or fear. It describes a state in which we feel unreasonable joy; you know, like when you sit quiet and still and tingles run up and down your back, and you think things can never get any better.
I tried applying it to that year's Oscar nominees. Did it work any better than any other approach? You need Elevating nominees. An example of Elevation would be when the bone morphs into a space station in "2001." Did I feel Elevation in making any of my Guesses this year. That doesn't mean it was a bad year at the movies. Harvey Weinstein, accepting his achievement award from the Producers' Guild, said he thought 2012 was the best in 90 years. Maybe he felt Elevation when he gazed upon the Weinstein Company's box office figures.
Lust. Caution. Lust, Caution. Lust...Caution.
The English name of Ang Lee's 2007 film consists of two words. Taken separately, they stand alone as individual concepts: Lust, a primal, human urge; Caution, an evolved, societal tool. Put them side-by-side, and contrast emerges: primal versus evolved, individual versus society, incongruent. Poke a little hole in the membrane that separates the two, and dynamics shift. Lust surges in the face of Caution. Caution stares right back, coolly, unflinching.
I walked into "Life of Pi" with extremely high expectations. After all, Ang Lee is a masterful director who helmed two of the greatest modern love stories in film. The trailers assured me that it was a must-see for the visuals alone, and then a friend said that it would transform me to another world through groundbreaking use of cinematography to manipulate the membrane of water. I walked in expecting the greatest use of 3D in film history; I walked out with much more.
With the 2013 Oscarcast moved up to Feb. 24, movie fans are already in a lather over the possible nominees, especially since again this year there can be "up to" ten finalists in the Best Picture category. I claim no inside knowledge (I'm still waiting to hear from my friend Deep Oscar), but it's never too early to speculate.
Ang Lee's allegorical "The Life of Pi" (2012) is a film to appreciate slowly and carefully. It is a friendly post-modern, global fantasy, making the "Wizard of Oz" seem like a clunky product from a nation that now only exists in triumphalist superhero fables as it fights mercilessly for its final gasps of air. This is a smart film, the most intelligent meditation on religion in quite some time. Lee's masterful direction fills us with dramatic, wonderful visuals, and the type of relentless unpredictability we starve for as we wade through the usual zombie-like assortment of formulaic blockbuster crime movies.
Again this week, I'm double-posting a major review to permit your comments, which my main site can't accept--although they'll be added to our redesign, soon to be unveiled.
Ang Lee's "Life of Pi" is a miraculous achievement of storytelling and a landmark of visual mastery. Inspired by a worldwide best-seller that many readers must have assumed was unfilmable, it is a triumph over its difficulties. It is also a moving spiritual achievement, a movie whose title could have been shortened to "life."