Mission: Impossible - Rogue Nation
Tom Cruise is the best.
* 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 from the Berlin Film Festival, including thoughts on the new film by Wim Wenders.
A review of Terrence Malick's "Knight of Cups" from the Berlin Film Festival.
"Selma" is more than fair to L.B.J.; "American Sniper" increases threat against Muslims; Struggle over Vivian Maier's photos; When racism can't be ignored; Johnny Depp was never a movie star.
A look at the character-defining aspect of the chase in Michael Mann's "Heat," "Manhunter," and "Public Enemies," on the eve of the release of "Blackhat."
The first Unloved of 2015 tackles Michael Mann's "Public Enemies".
Did North Korea order cyberattack on Sony?; The prestige freak show; "Hunger Games" is dangerous; The strangeness of "Gone with the Wind"; Alfred Hitchcock's final days.
An interview with Benedict Cumberbatch.
A feature that examines Shout Factory's amazing "Herzog: The Collection" film by film.
What mise-en-scène is and why it matters; Naked dating shows are the new trend; Women in Michael Bay films; How Brando broke the movies; Ben Franklin on "Transformers."
Chaz writes to Roger about attending the Oscars without him.
Simon Abrams on two sequels: "The Trip to Italy", the sequel to the hilarious "The Trip", and "The Raid 2".
What were the surprises, snubs and twists of today's Oscar nominations?
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.
We're counting down twelve great movie scenes set around Christmas. Here is the first batch, with #12 through #9.
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?
Marie writes: Last week, in response to a club member comment re: whatever happened to Ebert Club merchandize (turned out to be too costly to set up) I had promised to share a free toy instead - an amusement, really, offered to MailChimp clients; the mail service used to send out notices. Allow me to introduce you to their mascot...
Marie writes: You never know know what you'll find each week inside The Ebert Club, such is the multifarious nature of its often gleeful content, not to mention the God-like power of Adobe Photoshop when inspired by casting rumors re: Christian Bale and Ridley Scott's "Exodus". Go here to join the Club and explore a truly eclectic assortment of finds. Your subscription helps support the Newsletter, the Far-Flung Correspondents and the On-Demanders.
Go here to join the Ebert Club. Your subscription helps support the Ebert Club Newsletter, the Far-Flung Correspondents and The Demanders.
Marie writes: It's no secret there's no love lost between myself and what I regard as London's newest blight; The Shard. That said, I also love a great view. Go here to visit a 360-degree augmented-reality panorama from the building's public observation deck while listening to the sounds of city, including wind, traffic, birds and even Big Ben.
"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.
In the classroom lesson that wraps up the romantic and thematic threads of "The Amazing Spider-Man," a high school English teacher takes issue with the old saw about there being only ten (or so) stories in all of human history. She says she believes there's only one: "Who am I?" This being a remake-reboot of the Peter Parker Becomes Spider-Man origin story, that's a good thing for this, or any, coming-of-age movie to focus on.
An appealing cast headed by Andrew Garfield and Emma Stone provides all the special effects the movie needs, and they're far more engaging (for adults, anyway, I would imagine) than the usual clinical computer visuals. (Yes, I *liked* it. Hey, Mikey!) The emphasis is on charm, emotion and comedy -- until the third act CGI blowout, but even those scenes give Spidey some real weight and mass for the first time as he swings through the skyscraper canyons of Manhattan. (There's even a built-in joke about it, with two students of Midtown Science High School discussing some user-uploaded YouTube footage.) The way director Marc Webb (" Days of Summer") and DP John Schwartzman shoot Spidey and the city, they both seem to occupy a common, more-or-less real physical space. The camerawork isn't all "Avatar" floaty and fakey, and there's a lovely shot of Spidey on the Oscorp building with sunlight shimmering off the windows that looks like real glass and steel and sunlight, even though the Oscorp building itself is a CGI creation. (So are the hallways of Morse Science er, Midtown Science High, but you'd never know it.)
Marie writes: club member Sandy Kahn has found some more auctions! Go here to download a free PDF copy of the catalog.
Marie writes: As some of you may know, it was Roger's 70th birthday on June 18 and while I wasn't able to give the Grand Poobah what I suspect he'd enjoy most...
Siskel & Ebert fight over a toy train (1988)
Marie writes: Recently, a fellow artist and friend sent me the following photos featuring amazing glass mosaics. She didn't know who the artists were however - and which set me off on a journey to find out! I confess, the stairs currently continue to thwart me and thus remain a mystery, but I did uncover who created the "glass bottle doorway" and was surprised to learn both its location and the inspiration behind it. (click image.)