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.
A report on the Stanley Nelson tribute, "Prophet's Prey" and "Hot Type: 150 Years of The Nation" at AFI Docs 2015.
Our monthly short films series takes a look at The Lion's Mouth Opens by Lucy Walker, premiering tonight on HBO.
A tribute to Jean-Luc Godard in light of the retrospective "Godard: The First Wave," playing at the Siskel Film Center in Chicago.
Lists from our critics and contributors on the best of 2014.
A report of the winners at the 2014 AFI Fest.
Minda Kaling; A Japanese remake of Sideways; Superblogs and entertainment journalism; An interview with legendary documentarians; Paul Schneider interview.
Susan Wloszczyna presents the RogerEbert.com pick for Best Actress: Cate Blanchett.
An exhaustive list of Top 10s by RogerEbert.com contributors.
Hoberman on the Coen Brothers' portrayal of Jews; horror-woman's films; the "Goodbye New York" essay; Sheila O'Malley on anniversaries; Elmore Leonard's 10 rules of writing.
The 50th anniversary of JFK's assassination; critical reviews of a critical review of Sarah Silverman's career; Guillermo Del Toro's biggests firsts; an official video for "Like a Rolling Stone"; is Harvey "Scissorhanding" his company's awards site?
Writer Peter Sobczynski responds to our Movie Love Questionnaire.
Anne Thompson writes on Indiewire: "While any Joel and Ethan Coen movie is worth waiting for, many of us are champing at the bit to see "Inside Llewyn Davis," their portrait of the 60s Greenwich Village folk scene that spawned Bob Dylan, Joan Baez, Mimi and Richard Farina and the inspiration for this film, Dave Van Ronk. Some of us hoped to see the film loosely based on Van Ronk's memoir "The Mayor of MacDougal Street" in time for the 2012 holiday season, but it's more likely to turn up in Coen-friendly Cannes."
Click here and to read her scoop with much more about the film.
The star is Oscar Issac (from "Drive"). The cast includes Coen favorite John Goodman, Carey Mulligan and F. Murray Abraham.
Oh my. Here we go again with all the deathiness. Movie criticism keeps dying deader and deader. Film itself has keeled over and given up the ghost. Cinema ist kaput, and at the end of last month "movie culture" was pronounced almost as deceased as John Cleese's parrot. Ex-parrot, I mean. Then the movie "Looper" came out, posing questions like: "What if you could go back in time? Would you kill cinema?" Or something like that.
People, this dying has gotta stop.
"Dear Mr. Spider;I am profoundly sorry to have taken you from your home in the woods, when I was picking Himalayan Blackberries on Monday afternoon. I didn't see you fall into my bucket and which was entirely my fault; I must have bumped into your web while reaching for a berry. Needless to say, I was surprised upon returning home with my bucket full, to suddenly see you there standing on a blackberry and looking up at me." - Marie
(photo recreation of incident)
Marie writes: Once upon a time, a long time ago and in a childhood far, far away, kids used to be able to buy a special treat called a Frosted Malt. Then, with the arrival of progress and the subsequent destruction of all that is noble and pure, the world found itself reduced to settling for a frosty at Wendy's, at least where I live. Unable to support a "second rate" frosted malt for a second longer, I decided to do something about it!
"Phil Ochs: There But for Fortune" plays Monday, January 23, at 10 pm EST/PST on PBS American Masters. It will thereafter be available via PBS On Demand, and is currently on Netflix Instant and DVD.
"Mistakes are lodged like harpoons and fish hooks in an intelligent person's soul," says one friend of political folk singer Phil Ochsof the deep depression that eventually led him to suicide in 1976. Och's friends are like that, eloquent and insightful. His mentor Pete Seeger, in particular, speaks like he sings, modulating his voice to give anecdotes a mythic luster and heartbreaking resonance. But after watching "Phil Ochs: There But for Fortune" take a measure of the man's adult life, it seems that some friends put too much emphasis on generic therapist's reasons for his downward spiral -- schizophrenia, alcoholism, declining popularity. It seems that Phil Ochs' fall was inevitable, given the fact that his singing career began when he was barely out of his teens, when JFK's assassination was a couple years off, and crashed after every progressive movement for which his protest songs provided spiritual fuel was crushed.
This is not a standard pop star rise-and-fall story. Ochs was physically involved in the antiwar and social justice movements he sang along with. He headlined, organized and even spontaneously showed up at a staggering number of rallies for various causes. His investment was evident in his performances, presented here with shocking audiovisual fidelity. Even though it's captured on a black-and-white kinescope, a performance of his song "When I'm Gone" feels as clear and urgent as a live event. So, too, is his strumming and crooning at the 1964 Newport Music Festival. (Simply amazing sound and image restoration here.) The sonorous voice and wide, earnest eyes could just as easily belong to a Wall Street occupier serenading Zuccoti Park.
Marie writes: I've always found the ocean more interesting than space and for invariably containing more delights and surprises. Case in point, discovering the existence of an extraordinary underwater museum...
Marie writes: Doug Foster is a filmmaker and artist who produces large scale digital film installations that often play with ideas of symmetry and optical illusion. His piece The Heretics' Gate is currently on view at "Daydreaming with... St. Michael's" - an exhibition taking place at St. Michael's church in Camden, London. Note: Foster's piece first appeared at the Hell's Half Acre exhibition at the Old Vic Tunnels in London in 2010."The Heretics' Gate" draws inspiration from Dante's Inferno, the first part of his epic poem The Divine Comedy. A twenty foot high, arched screen and a thirty foot long reflecting pool, are cleverly combined to deliver a mesmerizing and strangely ethereal vision of hell at the central focus point of the church's imposing gothic architecture. To learn more, visit: Liquid Hell: A Q&A With Doug Foster.NOTE: The exhibition is the latest installment in renowned British music producer James Lavelle's curatorial and collaborative art venture, "DAYDREAMING WITH..." - a unique and visceral new exhibition experience, inspired by the desire to marry music and visual art. The goal is to bring together some of the most acclaimed creative names working in music, art, film, fashion and design.
Somebody named Michael Jones -- essentially the same Mr. Jones Bob Dylan wrote about years ago -- appeared on HuffPo recently with a piece called "That Steely Dan Moment" -- you know, about a discovery of musical taste that makes you wonder if you could ever love the person who possesses it. The twist is that he's the one who falls short and doesn't know it. Turn up the Eagles, the neighbors are listening, Mr. Jones.
Anyway, I wouldn't have paid attention except that his story (who knows where or when it originally appeared if it was on HuffPo) reminded me of an article my friend Julia Sweeney did for the February, 1993, issue of SPIN magazine that was written and edited by the staff of "Saturday Night Live." It probably wasn't an entirely original idea then, either, but it was called "Men, Music & Me," and in it she discussed her assessments of collegiate and post-collegiate boyfriends -- using their cinematic and musical tastes as a guide. (Please also see my entry on Carl Wilson's book, "Let's Talk About Love: A Journey to the End of Taste.")
I AM SO PROUD that eight of the Far-Flung Correspondents will be attending Ebertfest 2010, and so sincerely moved that they're providing their own tickets! A shout-out to Ali Arikan, Seoungyong Cho, Weal Khairy, Michael Mirasol, Omar Moore, Omer Mozzafar, Gerardo Valero, and Grace Wang. Only Robert Tan, who has been under the weather, will be missing. They're all bloggers, and will be on a panel Friday morning about the Global Web of Filmlovers.
Bruce Eaton, in his 331/3 book on Big Star's "Radio City" (2009):
Beyond talent, there's the often dismissed importance of experience -- in music and life. Does an artist have something interesting to say and the ability to say it in a unique and interesting way? The answer is usually "not really." One of the chief reasons that rock and roll from the 1960s and early 1970s still looms large is that its creators had deep reserves of experience to draw upon when the time finally came to go to the well in the recording studio. Take The Beatles or The Stones, Bob Dylan or Bruce Springsteen. Each knew hundreds upon hundreds of cover tunes -- a disparaged concept today but vital to learning how music works -- and had played endless gigs trying to sell them to indifferent, if not downright hostile, audience. That experience takes patience but it eventually can get you to a point where you can write songs of your own that become a meaningful and permanent part of other peoples' lives.
Breathless reports have swooped around the web about John Anderson, film critic for Variety, pounding the legendary publicist Jeff Dowd (aka The Dude) at Sundance. There was a jab to the chest! One to the shoulder! Dowd kept his guard down! A punch to the head! Anderson turned and walked away, then came back and threw his best right to the jaw!
I have this blow-by-blow account from The Dude himself. Park City Police Officer Bob deBotelho responded after a call from the Yarrow restaurant, collected eyewitness testimony, and offered
From Ebert's new book, now on sale.
It seems appropriate that the first screening I attended for the 2008 Toronto International Film Festival should be a movie about stories and con games: "The Brothers Bloom," written and directed by Rian Johnson, maker of "Brick," one of my favorite movies of 2005.
Now look back at that sentence and you'll notice it's a setup for another story. (And con?)
I mean, of course it's going to make sense to me that the first movie I see in Toronto is going to be about storytelling as con artistry, in which stories themselves are the biggest cons of all -- because, then, seeing the movie becomes part of my story, and the lead (or "lede," if you prefer) for the story you're reading now, about my first TIFF 2008 screening. That's the way stories work, and the way we work stories.
Q: How would you compare Scorsese's "Shine a Light" to "No Direction Home," the brilliant documentary Scorsese made about Bob Dylan a couple years ago? I am a huge Dylan fan, never been a big Stones fan. Can I appreciate "Shine a Light" without being a Stones fan?