In this exuberant but ultimately simpleminded comedy, a car wash owner (Kevin Hart) helps a wimpy hedge fund manager (Will Ferrell) get ready for prison…
* 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 FFC looks at the "Taken" saga.
"Selma" director Ava DuVernay and star David Oyelowo discuss their collaboration at the Film Independent Directors Close-Ups.
An interview with Kevin Macdonald, director of "Black Sea."
A report on the weekend presentation of "White House Butler Down," J. Hoberman's simultaneous screening of "The Butler" and "White House Down."
An exhaustive list of Top 10s by RogerEbert.com contributors.
The Oscars race has hit a holiday lull. It's a good time to pause and take stock of nominations.
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?
"12 Years a Slave" and "The Butler" are part of a valuable subgenre of American film that dramatizes the fallacy of "Black respectability"—the notion that if African-Americans will only speak, dress and behave in a certain way, discrimination won't affect them, and they'll reap the American dream.
Four standout performances by black actors make the Oscar Best Actor race more interesting this year.
Lee Daniels, the director of "Lee Daniels' The Butler," discusses his personal stakes in the story and working with Forest Whitaker on the way the character grows and changes.
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: 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.
Barbara Scharres reports on the winners at the Cannes Film Festival.
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."
"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)
Sometimes an actor's face tells so much about his character that the movie doesn't have to waste its time describing the character's past to us. Roger Michell's "Venus" (2006) doesn't tell us in details how famous its hero was as an actor, but that's not a problem because he is played by Peter O'Toole, a living legend who gave us a bunch of memorable larger-than-life characters including Henry II of England, Eli Cross, the 14th Earl of Gurney, Alan Swann, and, above all, Lawrence of Arabia. When we look at him in the movie, we instantly remember how magnificent he was, and that aspect is naturally incorporated into his character.
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.)
The Academy Award winners for the past thirty years have followed consistent molds, primarily in the categories of Best Actress, Best Actor, and Best Picture. It is a very simple set of templates that I will explain with excessive evidence. This is not to say that the Academy Awards are a conspiracy run by some secret society, although that idea would be quite fun. Rather, at the very least, there is a subtext to American culture that plays out in the ideas and ideals in American cinema, and it plays out consistently. At the very least, I'm illustrating some unwritten ideals in American culture. Whether or not they are healthy or corrupt, they are there in us. So, "Best Picture" is not a great movie; rather, it is a great movie that fulfills the mold.
Marie writes: I was browsing the 2010 National Geographic Photography Contest Galleries and came upon this amazing shot - click to enlarge!
The Birth Of Earth: Photo by Terje Sorgjerd"Getting close or getting too close? Photo taken of the Eyjafjallajokull volcano eruption that would grind most of europe air traffic. This is the scariest moment in my life, and also the most beautiful and frightening display of raw force I have ever seen." - Terje Sorgjerd
Chicago's biggest annual cinema event boasts 150 films from 50 countries this year. The Chicago International Film Festival opens its 46th season Thursday night as the city's longest-running showcase of dramas, documentaries and shorts.
Marie writes: Club member and noted blog contributor Tom Dark took this astonishing photograph near his home in Abiqui, New Mexico. The "unknown entity" appeared without warning and after a failed attempt to communicate, fled the scene. Tom stopped short of saying "alien" to describe the encounter, but I think it's safe to say that whatever he saw, it was pretty damned freaky. It sure can't be mistaken for anything terrestrial; like a horse pressing its nose up to the camera and the lens causing foreshortening. As it totally does not look like that at all. (click to enlarge.)
Spike Jonze's "Where the Wild Things Are" (aka, "The Decline and Fall of the Wild Thing Empire") is not Maurice Sendak's "Where the Wild Things Are." It's only fair you should know that in advance. The book's illustrations and nine sentences have been turned into a surprisingly (some might even say shockingly) literal-minded 90-minute motion picture about the misery of being a kid. Jonze and co-scenarist Dave Eggers are clearly in touch with their inner-miserable child; they seem to vividly remember all the daily turmoil that childhood is heir to -- the tantrums, fights, scrapes, bruises, fears, anxieties, insults, hurt feelings, bossiness, cruelty, rejection, confusion, heckling, bullying, bragging, pouting, moping, testing, haggling, crying, rage...
Those aspects of childhood trauma are acutely and accurately portrayed in the movie. Every time the fun starts, somebody goes too far (like a puppy who hasn't learned his soft mouth yet), and someone gets hurt or scared or angry or sad or all of those things. The movie's adulterated sensibility is that of an alienated grown-up looking back at the (somewhat romanticized, over-intellectualized) misery of childhood and denying or downplaying the equally real fun stuff -- the in-the-moment joy, the exhilaration of being and imagining and doing and playing. So, in some sense it's a corrective to all those stupid "Isn't it wonderful being a kid?" movies that remember childhood through equally distorted rose-tinted lenses.
by Roger Ebert
Q: If Cate Blanchett were to win the Oscar for her portrayal of Elizabeth I at next year's Oscars, would Helen Mirren as Elizabeth II give her the Oscar? And do you think the actual Queen Elizabeth will be watching the Oscars just to see such an event?