Nerve wants to be a cautionary tale about the perils of desiring fame through social media, but it isn’t willing to go to the darker…
* 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 appreciation for Prince's 1986 directorial debut and "Purple Rain" follow-up, "Under the Cherry Moon."
An interview with experimental filmmaker Mark Rappaport.
An interview with legendary animator Ralph Bakshi.
An interview with director Terence Davies, "Britain's Greatest Living Director."
"Belle" explains white America's response to racism; Tarantino on "The Hateful Eight"; The bravery of Emmett Till's uncle; In praise of the imperfect photograph; John McNaughton on "The Harvest."
The movie questionnaire and 2015 reviews of RogerEbert.com film critic Sheila O'Malley.
An obituary for film icon Jerry Weintraub.
25 indie directors to know; RIP Kirk Kerkorian; Designs of "Dick Tracy"; Tim Burton pays tribute to Christopher Lee; Preview of BAMcinemaFest.
A report from Tribeca on Albert Maysles' last film, In Transit.
Meet the critics attending Ebertfest 2015.
A review of Ramin Bahrani's Goodbye Solo from a far-flung correspondent.
A recap and guide to the most interesting Blu-rays of 2014.
A video interview with Daniel Radcliffe, star of "What If."
Ramin Bahrani made his fourth Ebertfest appearance with a touching screening of his masterful "Goodbye Solo" and a Q&A moderated by David Bordwell.
Odie Henderson launches our coverage of Oscar Memories from some of our most notable contributors.
Sheila writes: David Bowie was born on January 8, 1947 (he shares the day with Elvis Presley, two of the biggest RCA artists in their respective generations), and to celebrate Bowie here's a fun "info graphic" on the evolution of the artist through his various ages.
What "Berkeley" teaches us; the latest Cruise kerfuffle; how selling out saved indie rock; SpongeBob SquarePants goes both ways; we are all plagiarists.
Writer Sheila O'Malley responds to our Movie Love Questionnaire.
We catch up with Irv Slifkin, the man behind MONDO MEYER, a Philadelphia event celebrating the work of filmmaker Russ Meyer.
An ending to Roger's "The Thinking Molecules of Titan" by Jeremy Gable.
Is the director's explicit "The Canyons" the nadir of his career—or its climax?
Here is a collection of a dozen of the best documentaries I saw in 2012. It's not a "best of the year" list. Just some good memories of these films.I will not burden you again with another complaint about lists. More than ever, I despise them because they shift focus away from a film and toward a list. When I recently caught up with "Django Unchained," for example, I gave it four stars. The comments section was overrun with readers asking if that meant it was now on my Top Ten list. One reader insisted on knowing which title it replaced. Although the piece was some 2,000 words long, another reader insisted he still wanted to see "my official review."
We know that "Star Trek II: The Wrath of Khan" (1982) is the best of all of the "Star Trek" movies. I am not stating anything new here. The rest of the series of films struggled to repeat the mastery of this film, and the reboot has also fallen short, thus far. I did, however, watch Star Trek 2 recently to see if the overlooked "Star Trek: First Contact" was able to take the helm as the Best of the Treks. In the process, however, I realized that Star Trek 2 is a much better movie than I remembered. I invite everyone to watch this movie again to appreciate how great it really is. This is a great movie. It is exciting. It is complex. It is emotional and philosophical. It is one of the great adventure movies.
19th Annual Chicago Underground Film Festival
"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.