Rarely has a remake felt more contractually obligated than the 2015 version of Poltergeist.
* 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.
Sheila writes: With panels, special guests, golden thumb statues, and a lineup of fantastic films, Ebertfest 2015 was an amazing experience! The weather was beautiful, the flowers burst into bloom over the course of the festival, and, as always, Roger's home town was warm and welcoming. So much happened during the festival that it may have been hard to keep up, so the editors at Rogerebert.com has put together a wonderful Table of Contents, listing all of the dispatches, videos, reviews, and other Ebertfest content.
• Bill Stamets and Roger Ebert
The 46th Chicago International Film Festival will play this year at one central location, on the many screens of the AMC River East 21, 322 E. Illinois. A festivalgoers and filmmakers' lounge will be open during festival hours at the Lucky Strike on the second level. Tickets can be ordered online at CIFF's website, which also organizes the films by title, director and country. Tickets also at AMC; sold out films have Rush Lines. More capsules will be added here.
"I much prefer the kind of story where the reader is left wondering who's to blame until it begins to dawn on him (the reader) that he himself must bear some of the responsibility because he is human and therefore infinitely fallible." -- Richard Yates
"Madame Bovary, c'est moi." -- Gustave Flaubert
A follow-up to my previous post on "Revolutionary Road":
I'm reading Blake Bailey's 2003 biography of Richard Yates, whose "Revolutionary Road" and "The Easter Parade" are among the novels I hold dearest. It's called "A Tragic Honesty," and I think Yates would hate the title. But maybe there are layers to it that I haven't yet discovered. I'm only up to 1959 and, despite a lifetime of alcoholism, emphysema, bipolar depression and a host of other physical and mental troubles, Yates survived until 1992. Perhaps the notion of "tragic honesty" is illustrated below, in Yates' sharp observations about the interplay between story and character in his own work and that of artists he admired. They're applicable to just about any narrative form:
"Another thing I have always liked about ["The Great Gatsby"] and ["Madame Bovary"]," he wrote, "is that there are no villains in either one. The force of evil is felt in these novels but never personified -- neither novel is willing to let us off that easily." [...]