"Transcendence" is a serious science fiction movie filled with big ideas and powerful images, but it never quite coheres, and the end is a copout.
* 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 epic essay on an epic comedy of the 1960s, now given deluxe treatment on Blu-ray and DVD by Criterion.
Matt Zoller Seitz's Top 10 films of 2013.
"Inside Llewyn Davis" star Oscar Isaac talks about how he got here, the way an actor can use music to express what's not there in dialogue, and the difficulty of playing a guy who might be considered a jerk.
Seventy-five years late, an early film production by Orson Welles finally had its New York City premiere.
A documentary about wounded veterans that Roger championed gets a screening at the Rehabilitation Institute of Chicago and screenings in New York and Los Angeles before a showing on PBS.
Sheila writes: As the daughter of a librarian, I grew up surrounded by books. It was a treat to go visit my father at the university library where he worked, since he had such a passion for books (a passion he passed on to his children). For some reason or another, I've seen a couple of photos over the past week of the Book Mobiles of yore on various vintage photo sites, and while they all pre-date me by a good decade or so, there is something beautiful about the idea of a traveling library bringing books to people who want them. I've had Book Mobiles on the brain. So I was pleasantly surprised to come across an entire post devoted to photos of them. Heaven! Included are photos of the now-defunct Book Mobiles, rusting away in people's yards, lovely and bittersweet reminders of a bygone era.
Marie writes: There was a time when Animation was done by slaves with a brush in one hand and a beer in the other. Gary Larson's "Tales From the Far Side" (1994) was such a project. I should know; I worked on it. Produced by Marv Newland at his Vancouver studio "International Rocketship", it first aired as a CBS Halloween special (Larson threw a party for the crew at the Pan Pacific Hotel where we watched the film on a big screen) and was later entered into the 1995 Annecy International Animated Film Festival, where it won the Grand Prix. It spawned a sequel "Tales From the Far Side II" (1997) - I worked on that too. Here it is, below.
Marie writes: Now this is something you don't see every day. Behold The Paragliding Circus! Acrobatic paragliding pilot Gill Schneider teamed up with his father’s circus class (he operates a school that trains circus performers) to mix and combine circus arts with paragliding - including taking a trapezist (Roxane Giliand) up for ride and without a net. Best original film in the 2012 Icare Cup. Video by Director/Filmmaker Shams Prod. To see more, visit Shams Prod.
Marie writes: I was looking for something to make Roger laugh, when the phone rang. It was a bad connection, but this much I did hear: "Roger has died." That's how I learned he was gone, and my first thought was of the cruel and unfair timing of it. He'd been on the verge of realizing a life long dream: to be the captain of his own ship.
Marie writes: Did you know that if you wear your contact lenses too much and too long during the cold, winters months - and with the windows closed and the heat cranked-up, that you can develop an annoying eye condition? Because you can. Ahem. And so for the time being, I'll be spending less time staring at my monitor and more time resting my eyes. The Newsletter will still arrive as usual each week, but it won't be as huge. That said, it will contain a few extra goodies to make up for it, by way of curious finds. And speaking of finding stuff...."On Thursday, March 7, 2013, SpaceX's Grasshopper doubled its highest leap to date to rise 24 stories or 80.1 meters (262.8 feet), hovering for approximately 34 seconds and landing safely using closed loop thrust vector and throttle control. Grasshopper touched down with its most accurate precision thus far on the centermost part of the launch pad. At touchdown, the thrust to weight ratio of the vehicle was greater than one, proving a key landing algorithm for Falcon 9. The test was completed at SpaceX's rocket development facility in McGregor, Texas." - by Neatorama
This is a free sample of the Newsletter members receive each week. It contains content gathered from recent past issues and reflects the growing diversity of what's inside the club. To join and become a member, visit Roger's Invitation From the Ebert Club.
Marie writes: Not too long ago, Monaco's Oceanographic Museum held an exhibition combining contemporary art and science, in the shape of a huge installation by renowned Franco-Chinese artist Huang Yong Ping, in addition to a selection of films, interviews and a ballet of Aurelia jellyfish.The sculpture was inspired by the sea, and reflects upon maritime catastrophes caused by Man. Huang Yong Ping chose the name "Wu Zei"because it represents far more than just a giant octopus. By naming his installation "Wu Zei," Huang added ambiguity to the work. 'Wu Zei' is Chinese for cuttlefish, but the ideogram 'Wu' is also the color black - while 'Zei' conveys the idea of spoiling, corrupting or betraying. Huang Yong Ping was playing with the double meaning of marine ink and black tide, and also on corruption and renewal. By drawing attention to the dangers facing the Mediterranean, the exhibition aimed to amaze the public, while raising their awareness and encouraging them to take action to protect the sea.
Marie writes: Intrepid club member Sandy Kahn has found another Hollywood auction and it's packed with stuff! From early publicity stills (some nudes) to famous movie props, costumes, signed scripts, storyboards, posters and memorabilia...
Marie writes: Remember Brian Dettmer and his amazing book sculptures? Behold a similar approach courtesy of my pal Siri who told me about Alexander Korzer-Robinson and his sculptural collages made from Antiquarian Books. Artist's statement:"By using pre-existing media as a starting point, certain boundaries are set by the material, which I aim to transform through my process. Thus, an encyclopedia can become a window into an alternate world, much like lived reality becomes its alternate in remembered experience. These books, having been stripped of their utilitarian value by the passage of time, regain new purpose. They are no longer tools to learn about the world, but rather a means to gain insight about oneself."
Marie writes: The ever intrepid Sandy Khan shared the following item with the Newsletter and for which I am extremely glad, as it's awesome..."Earlier this year, the Guggenheim Museum put online 65 modern art books, giving you free access to books introducing the work of Alexander Calder, Edvard Munch, Francis Bacon, Gustav Klimt & Egon Schiele, and Kandinsky. Now, just a few short months later, the Metropolitan Museum of Art has launched MetPublications, a portal that will "eventually offer access to nearly all books, Bulletins, and Journals" published by the Met since 1870."
Marie writes: It's that time of year again! Behold the shortlisted nominees for The Turner Prize: 2012. Below, Turner Prize nominee Spartacus Chetwynd performs 'Odd Man Out 2011' at Tate Britain on October 1, 2012 in London, England.
(click image to enlarge.)
OK, this is where it really gets interesting. Forget the consensus Top 50 Greatest Movies of All Time; let's get personal. Sight & Sound has now published the top 250 titles in its 2012 international critics poll, the full list of more than 2,000 movies mentioned, and all the individual lists of the 845 participating critics, academics, archivists and programmers, along with any accompanying remarks they submitted. I find this to be the most captivating aspect of the survey, because it reminds us of so many terrific movies we may have forgotten about, or never even heard of. If you want to seek out surprising, rewarding movies, this is a terrific place to start looking. For the past few days I've been taking various slices at the "data" trying to find statistical patterns, and to glean from the wealth of titles some treasures I'd like to heartily recommend -- and either re-watch or catch up with myself.
I know we're supposed to consider the S&S poll a feature film "canon" -- a historically influential decennial event since 1952, but just one of many. I don't disagree with Greg Ferrara at TCM's Movie Morlocks ("Ranking the Greats: Please Make it Stop") when he says that limiting ballots to ten all-time "best" (or "favorite," "significant," "influential" titles is incredibly limiting. That's why I think perusing at the critics' personal lists, the Top 250 (cited by seven critics or more) and the full list of 2,045 films mentioned is more enjoyable pastime.
It's wise to remember that, although the top of the poll may at first glance look relatively conservative or traditional, there's a tremendous diversity in the individual lists. Even the top vote-getter, "Vertigo," was chosen by less than one quarter of the participants.
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?
The king is dead. Long live the king. Welles' "Citizen Kane" has been dethroned from the Sight & Sound list of the greatest films of all time, and replaced by Hitchcock's "Vertigo." It's not as if nobody saw this coming. The list first appeared in 1952, and "Vertigo" (1958) made the list for the first time only in 1982. Climbing slowly, it placed five votes behind "Kane" in 2002. Although many moviegoers would probably rank "Psycho" or maybe "North by Northwest" as Hitch's best, for S&S types his film to beat was "Notorious" (1946). That's the one I voted for until I went through "Vertigo" a shot at a time at the University of Virginia, became persuaded of its greatness, and put it on my 2002 list.
UPDATED (08/01/12): Scroll to the bottom of this entry to see my first impressions of the newly announced critics' and directors' poll results.
Vittorio De Sica's "Bicycle Thieves" (1948) topped the first Sight & Sound critics' poll in 1952, only four years after it was first released, dropped to #7 in 1962, and then disappeared from the top ten never to be seen again. (In 2002 only five of the 145 participating critics voted for it.) Orson Welles' "Citizen Kane" (1941) flopped in its initial release but was rediscovered in the 1950s after RKO licensed its films to television in 1956. From 1962 to 2002 "Kane" has remained at the top of the poll (46 critics voted for it last time). This year, a whopping 846 top-ten ballots (mentioning 2,045 different titles) were counted, solicited from international "critics, programmers, academics, distributors, writers and other cinephiles" -- including bloggers and other online-only writers. Sight & Sound has announced it will live-tweet the 2012 "Top 50 Greatest Films of All Time" (@SightSoundmag #sightsoundpoll) August 1, and as I write this the night before, I of course don't know the results. But, for now at least, I'm more interested in the process.
Given the much wider and younger selection of voters in 2012, ist-watchers have been speculating: Will another movie (leading candidate: Alfred Hitchcock's "Vertigo," number 2 in 2002) supplant "Kane" at the top of the list? Will there be any silent films in the top 10? (Eisenstein's "Battleship Potemkin" and Murnau's "Sunrise" tied for #7 on the 2002 list, but the latter was released in 1927 with a Fox Movietone sound-on-film musical score and sound effects.)
Though there's been no rule about how much time should pass between a film's initial release and its eligibility (the Library of Congress's National Film Registry requires that selections be at least ten years old), most of the selections ten to have stood the test of time for at least a decade or two. The newest film on the 2002 list was the combination of "The Godfather" (1972) and "The Godfather, Part II" (1974) -- but they won't be allowed to count as one title for 2012.
It's not enough to say that Louis C.K.'s "Louie" is the finest, funniest, most adventurous half-hour comedy on television. It's not even necessarily accurate, since the series is more like a short story anthology than any kind of sitcom you've ever seen. Yes, Louie is the main character, a divorced New York stand-up comedian whose observations and adventures provide the backbone for the stories (sometimes more than one per show), but other characters or storylines may or may not continue beyond the half-hour in which they're introduced. Last season, for instance, Louie found himself in temporary but indefinite custody of his 13-year-old niece at the end of the episode... but she never reappeared.
The flighty, fidgety bookstore employee played by Parker Posey, whose name we don't discover until the last word of the two-parter called "Daddy's Gilfriend" (it's Liz), is unlikely to show up again, but Posey says she'd love to come back in the role he originally envisaged for her -- as his shrink. This, I think, is a good thing. Liz's function was to act as a force of instability, to shake Louie out of his risk-averse routine. And, boy, did she succeed. She is fascinating, goofy, beguiling -- and baffling, frustrating, unsettling, frightening, exhausting, all in one volatile, bubbling cauldron of moods and impulses. You can read it all in Louie's face as he attempts to figure out what to make of her, from situation to situation, moment to moment, all through the night. (His range of tentative reactions reminded me of the wife of bus driver Mark Ruffalo in "Margaret," who churns through turbulent sequence of responses as she tries to get a read on Lisa Cohen and what she could possibly want from her husband.)
Marie writes: As I'm sure readers are aware, the 2012 Summer Olympics in London are now underway! Meanwhile, the opening ceremony by Danny Boyle continues to solicit comments; both for against. (Click image to enlarge.)
"Gotham's time has come. Like Constantinople or Rome before it, the city has become a breeding ground for suffering and injustice. It is beyond saving and must be allowed to die. This is the most important function of the League of Shadows. It is one we've performed for centuries. Gotham... must be destroyed." -- Ra's al Ghul (Ken Watanabe), "Batman Begins" (2005)
"Over the ages our weapons have grown more sophisticated. With Gotham we tried a new one: economics.... We are back to finish the job. And this time no misguided idealists will get in the way. Like your father, you lack the courage to do all that is necessary. If someone stands in the way of true justice, you simply walk up behind them... and stab them in the heart." -- Ra's al Ghul (Liam Neeson), "Batman Begins" (2005)
"You see, their morals, their code, it's a bad joke, dropped at the first sign of trouble. They're only as good as the world allows them to be. I'll show you. When the chips are down, these civilized people, they'll eat each other." -- The Joker (Heath Ledger), "The Dark Knight" (2008)
"Terror is only justice: prompt, severe and inflexible; it is then an emanation of virtue; it is less a distinct principle than a natural consequence of the general principle of democracy, applied to the most pressing wants of the country." -- Maximilien Robespierre, 1794
"I am Gotham's reckoning... I'm necessary evil.... Gotham is beyond saving and must be allowed to die." -- Bane (Tom Hardy), echoing his former master in "The Dark Knight Rises" (2012)
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(You've seen "The Dark Knight Rises" by now, right? Good. I'm going to discuss a few things that I would consider spoilers, albeit mild ones, and then get to some pretty big spoilers later on, before which I will offer an additional warning, just in case.)
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The villains of Christopher Nolan's "Batman" movies don't think very highly of "ordinary citizens" (now popularly referred to as "the 99 percent"), whom they tend to view as mindless savages, slaves to fear who'll claw one another and the city of Gotham to shreds at the slightest provocation. The films themselves sometimes confirm that view (Gothamites get a little panicky in "The Dark Knight" when they fear that Batman is not keeping the crime rate down) and sometimes don't (they choose not to blow themselves up in the Joker's intricately planned ferry experiment). This isn't really a theme that's developed in the movies, but like most of the political and social references, it's something that's... there.
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!
Andrew Sarris, who loved movies, is dead at 83. He was the most influential American film critic of his time, and one of the jolliest. More than anyone else, he was responsible for introducing Americans to the Auteur Theory, the belief that the true author of a film is its director. Largely because of him, many moviegoers today think of films in terms of their directors.
"Through my films I'm eventually trying to one day tell the truth. I don't know if I'm ever going to get there, but I'm slowly letting pieces of myself out there and then maybe by the time I'm 85, I'll look back and say, 'All right, that about sums it up.'" -- Adam Sandler, interview clip used in the 2012 Oscar broadcast
What if those schlocky Adam Sandler movies that you either think are funny or you don't really aren't just schlocky Adam Sandler movies that you either think are funny or you don't? What if they don't have much to do with movies at all, but are more like leveraged derivative instruments (I don't actually know what those are) or synthetic collateralized debt obligation (CDO) transactions, devised by accountants to provide maximum returns with minimum effort -- that promise investors profits for next-to-nothing? Ultra-low-budget production values and minor league actors, writers and directors (except for Sandler himself, who gets $25 million-plus up-front plus a heavy chunk of the gross), subsidized by egregious product placements, make for maximum risk minimalization.
As a moviegoer and a critic, all I care about is what's on the screen -- or isn't. But there's so little on the screen in Adam Sandler movies, that I confess I'm bewildered at what some claim to see in them. So, if you're curious about, say, how the production cost of the average Adam Sandler comedy jumped from about $30 million to about $80 million overnight... well, just keep reading.
The so-called " flop" of "That's My Boy" this past weekend (Sandler's second after "Jack and Jill" -- almost a trend!) has been greeted with schadenfreude in some quarters, but it disregards the likelihood that financial arrangements have long been in place that ensure a Sandler movie has to really, seriously tank before it winds up actually losing money.* Who knows -- there may be the equivalent of credit default swaps that protect Sony and Happy Madison from disappointing returns. I wouldn't be surprised to learn that there are investment devices that allow the backing companies to actually make money by placing wagers predicting the underperformance of a given movie, just to hedge their bets. Everybody wins, right?