We Are Your Friends
Friends shouldn’t let friends pay money to see We Are Your Friends.
* 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.
The movie questionnaire and 2015 reviews of RogerEbert.com film critic Peter Sobczynski.
Our latest video from Cannes includes coverage of some of this year's biggest films, along with press conference footage from Macbeth and footage from the empathy panel led by Chaz Ebert.
A report from Cannes 2015 on the latest films from Paolo Sorrentino, Shin Su-won and Hou Hsio-hsien.
A curtain raiser for the 2015 iteration of the Cannes Film Festival.
A review of "In the Company of Legends" by Joan Kramer and David Heeley.
Highlights of our 2014 interviews, including Woody Allen, Wes Anderson, Kevin Spacey, Terry Gilliam, Eddie Redmayne, Jessica Chastain, Hilary Swank and many more.
An appreciation of Nastassja Kinski, on the occasion of a tribute to her at the Film Society at Lincoln Center from November 27-December 3, 2014.
Obituary for Marian Seldes.
Recent titles released on Blu-ray.
Indie filmmaker Robert Rodriguez talks about his new series and his television network El Rey.
Wes Anderson talks about the sources behind "The Grand Budapest Hotel", dining with his cast every night on location, and the comic gifts of Ralph Fiennes.
Scorsese, De Niro reuniting on a new gangster film; Zadie Smith on life, death, Warhol; Spike Lee speaks; our ancestors didn't sleep like us; Van Sant to headline a LGBT film fest in St. Petersburg.
Is the director's explicit "The Canyons" the nadir of his career—or its climax?
Ben Kenigsberg reviews the new sci-fi reverie from the director of "Waltz with Bashir."
Marie writes: The unseen forces have spoken! The universe has filled a void obviously needing to be filled: there is now a font made entirely of cats. Called Neko Font (Japanese for "cat font") it's a web app that transforms text into a font comprised of cat pictures. All you need to do is write something in the text box, press "enter" on your keyboard and Neko Font instantly transforms the letters into kitties! Thanks go to intrepid club member Sandy Kahn for alerting the Ebert Club to this important advancement in typography. To learn more, read the article "There is now a font made entirely of cats" and to test it out yourself, go here: Neko Font. Meanwhile, behold what mankind can achieve when it has nothing better to do....
Quentin Tarantino has found his actor in Christoph Waltz -- someone who can speak Tarantinian fluently and still make it his own. When Waltz uses a self-consciously ostentatious word like "ascertain" (as in, "I was simply trying to ascertain..." -- the kind of verbiage QT is as likely to put in the mouth of a lowlife crook as a German dentist, or a Francophile plantation slavemaster, for that matter), it sounds right. As someone to whom Tarantino's dialog often sounds cliche-ridden and cutesy, it's a pleasure to hear Waltz saying the words in character rather than simply as a mouthpiece for the writer-director.
Oh, stop. This isn't sounding the way I want it to.
[This was originally published at MSN Movies in 2006, but MSN has taken down their archives.]
"You don't make up for your sins in church. You do it in the streets. You do it at home. The rest is bullshit, and you know it." -- Charlie (voiceover by Martin Scorsese) in "Mean Streets" (1973)
If I do bad things, am I a bad person? Can I be a good person despite the bad things I've done? Can I compensate for the sins I commit in one part of my life by doing good works in another? Is forgiveness possible? Is redemption achievable? Or does it even matter if there's not really anyone, or anything, watching over us and keeping track?
Those are some of the Catholic concerns that have preoccupied filmmaker Martin Scorsese throughout his career. His latest film [circa 2006], "The Departed," is based on "Infernal Affairs," a 2002 Hong Kong thriller directed by Andrew Lau and Alan Mak, about two moles: an undercover cop who has infiltrated a criminal gang, and a crook who is embedded in the police department. So, who's the good guy and who's the bad guy? Frank Costello, the gangster kingpin played by Jack Nicholson, says: "Cops or criminals: When you're facing a loaded gun, what's the difference?" And what about when you're pointing one? In the cosmic sense, we're all facing that loaded gun, and brandishing one, every day. And the difference -- if there is any -- is what Scorsese makes his movies about.
Watching certain Scorsese pictures today ("Mean Streets," "Taxi Driver," "Raging Bull," "The Last Temptation of Christ," "GoodFellas," "Casino" and others), you can appreciate the ways they both reflect and question the prevailing moral climate in early 21st-century America. It's a topsy-turvy universe in which the President of the United States himself insists that judgments about "goodness" and "badness" are not to be based upon actions, but are simply pre-existing existential conditions. Good or bad, right or wrong -- it just depends on which side you're on.
Marie writes: allow me to introduce you to Travel Photographer, founded by Chris and Karen Coe in 2003 and their annual contest "Travel Photographer of the Year".After years spent working in the travel industry as a professional photographer and finding it was mostly conventional images making it into print, Chris decided to create a way to showcase great travel photography and broaden people's perception of what it can encompass - namely, that it can be much, much more than a pretty postcard image.The contest is open to one and all; amateur and professional photographers compete alongside each other. Entrants are judged solely on the quality of their photographs. There's a special competition to encourage young photographers aged 18 and under; Young Travel Photographer of the Year. The youngest entrant to date was aged just five, the oldest 88. The competition is judged by a panel of photographic experts, including renowned photographers, picture buyers, editor and technical experts.And the 2010 winners have now been announced. Here's a few random photos to wet your appetite - then you can scroll through the amazing winners gallery!
Enal is around 6 years old and knows this shark well - it lives in a penned off area of ocean beneath his stilted house in Wangi, Indonesia. Photo: James Morgan, UK (Portfolio Encounters: Winner 2010) [note: click images to enlarge]
There exist in this sometimes sad world, moments that remind you that you are alive.
You know these moments well. Blood rushes from your toes to your cheeks. Or from your cheeks to your toes. Either way you are made aware of its movement.
A great energy is felt in your jaw and in the ends of each strand of hair. Your fingers curl. Your hands turn into fists or claws. Everything is hot. You shudder violently (the energy must be flung off or you will be eaten alive).
It was my mother who decided I would be a priest. I heard this beginning early in my childhood. It was the greatest vocation one could hope for in life. There was no greater glory for a mother than to "give her son to the church." I speculated that my mother had given me birth with the specific hope of passing me on to the church.
There was a mother in our congregation at St. Patrick's, Mrs. Wuellner, who had achieved the enviable distinction of giving two sons to the church, Fathers Frank and George, and these two good men came once to visit us at our home, possibly to inspire me.
I saw three new movies on Monday. Each one could have been the best film of the day. I can't choose among them, so alphabetically: Werner Herzog's "Bad Lieutenant: Port of Call New Orleans," Atom Egoyan's "Chloe" and Rodrigo Garcia's "Mother and Child." A story involving a cop uncontrollably strung out on drugs. A story involving a wife who meets a hooker. A story about three woman whose lives are shaped by the realities of adoption. Three considerable filmmakers. Three different tones. Three stories that improvise on genres instead of following them. Three titles that made me wonder, why can't every day be like this?
Nicolas Cage and Werner Herzog were surely destined to work together. Radical talents are drawn to one another. Cage tends to exceed the limitations of a role, Herzog tends to exceed the limitations of film itself. Knowing nothing about conditions during the shoot, my guess is they found artistic harmony. If not, they ended up hardly on speaking terms. Either way would have worked.
Quentin Tarantino's "Inglourious Basterds" is about World War II in roughly the same way that, I suppose, Stanley Kubrick's "The Shining" is about a haunted hotel. The war is indeed the setting, but that's not so much what the movie is about. I also don't see it as an act of Holocaust denial or an anti-vengeance fable in which we are supposed to first applaud the Face of Jewish Revenge, and then feel uncomfortable sympathy for the Nazis. The movie comes down firmly on the side of the Jews, and of revenge, of an early end to the war and the saving of thousands of lives, with barely a quibble.
But while "Inglourious Basterds" is indisputably a WW II revenge fantasy (and, of course, a typically Tarantinian "love letter to cinema"), a theme that is central to nearly every moment, every image, every line of dialog, is that of performance -- of existence as a form of acting, and human identity as both projection and perception. As you would expect from a film that is also an espionage picture and a detective movie, it's shot through with identity games, interrogations, role-playing and people or situations that are not what they appear to be...
"When I'm making a movie, the world goes away and I'm on Mt. Everest. Obama is President? Who cares? I'm making my movie." -- Quentin Tarantino, Village Voice interview (2009)
A wily WWII Looney Tunes propaganda movie that conjures up 1945's "Herr Meets Hare," (in which Bugs Bunny goes a-hunting with Hermann Goering in the Black Forest; full cartoon below) and the towering legends of Sergio Leone's widescreen Westerns -- and about a gazillion other movies and bits of movie history from Leni Riefenstahl to Anthony Mann to Brian De Palma -- Quentin Tarantino's "Inglourious Basterds" is a gorgeous and goofy revenge cartoon, a conceptual genre picture about the mythmaking power of cinema. Re-writing history? That's missing the point by several kilometers. This is pure celluloid fantasy -- an invigorating wallow in the vicarious pleasures of movie-watching by someone who would rather watch movies than do anything else in the world. Except maybe talk about them.
I spent the last week preparing for "Inglourious Basterds" by watching the two Tarantinos I'd missed: both volumes of "Kill Bill" and "Death Proof." (I came to think of it as the Foot-Fetish Film Festival.) So, with that in mind, I thought I'd begin by taking a general look at how I think Tarantino's movies work -- what they do, and what they don't do -- because, although I haven't read more than a few brief passages from other "Basterds" reviews yet, people seem to think there's been a lot of misrepresentation and/or misinterpretation going around (starting with Newsweek and The Atlantic). Some clearly wanted or expected the movie to be something else. A morality lesson, perhaps. But those other movies would not be ones Quentin Tarantino has ever shown any interest in making. "Inglourious Basterds," love it or hate it (and I think it puts most contemporary American filmmaking to shame), it is what it is because it's exactly the way Tarantino wants it to be. Let's consider...
Mike Tyson is philosophical. Thoughtful. Self-critical. Vulnerable. There are times when you feel sympathy for the Baddest Man on the Planet. There are times when you...like him.
Q. You wrote: "It's like the dilemma of the 10 hot dogs and eight buns: You can never come out even at the end." Well, of course you can come out even: Four packs of wienies and five packs of buns yields 40 hot dogs.