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Bridge of Spies

Bridge of Spies is a daring, studied and mannered true story that is at once remarkably genuine and deeply cinematic at the same time.


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As a piece of social satire, Knock Knock winds up being not just toothless but anticlimactic.

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Ballad of Narayama

"The Ballad of Narayama" is a Japanese film of great beauty and elegant artifice, telling a story of startling cruelty. What a space it opens…


Monsieur Hire

Patrice Leconte's "Monsieur Hire" is a tragedy about loneliness and erotomania, told about two solitary people who have nothing else in common. It involves a…

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* 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.

#171 June 12, 2013

Marie writes: Welcome to "Good Books", an online bookseller based in New Zealand. Every time you buy a book through them, 100% of the retail profit goes directly to fund projects in partnership with Oxfam; projects which provide clean water, sanitation, develop sustainable agriculture and create access to education for communities in need. To increase awareness of Good Books' efforts to raise money for Oxfam, String Theory (New Zeland based agency) teamed up with collaborative design production comany "Buck" to create the first of three videos in a digital campaign called Good Books Great Writers. Behold the award winning animated Good Books Metamorphosis.

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Ezra Pound also wrote a poem about the Lake Isle of Innisfree. And shared a cottage with Yeats.


Spoken Word writes on his wonderful Spoken . Ezra Pound shared a cottage with W B Yeats during a period of three years. It seems that he didn't share Yeats' ambition to end up living alone on an island in the middle of a lake.

The title refers to Yeats' poem "The Lake Isle of Innisfree. McHugh and I drove out there from Sligo, but your man who lived in the cottage on this shore didn't feel like rowing us out.

"Volailles" actually means "chickens," if we ]take it literally, but here it means whores. "Poules" is similar and it also means both chickens and whores. There was a delightful film called Irma la Douce with Shirley MacLaine and Jack Lemmon set in the seedy part of Paris populated mainly with the Poules, their Mecs and the Flics - meaning the Prostitutes, their Pimps and the Cops. And, if you haven't seen Irma La Douce here it is - just watch the opening few minutes and you'll be hooked--er, yes, "hooked" is appropriate:.

The first tobacconist is in 'Little Britain' : Government Street, Victoria, British Columbia, Canada.

The second tobacco shop is in Old Town. San Diego, California, USA.

O GOD, O Venus, O Mercury, patron of thieves, Give me in due time, I beseech you, a little tobacco-shop, With the little bright boxes piled up neatly upon the shelves And the loose fragrant cavendish and the shag, And the bright Virginia loose under the bright glass cases, And a pair of scales not too greasy, And the volailles dropping in for a word or two in passing, For a flip word, and to tidy their hair a bit.

O God, O Venus, O Mercury, patron of thieves, Lend me a little tobacco-shop, or install me in any profession Save this damn'd profession of writing, where one needs one's brains all the time.

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#115 May 16, 2012

Marie writes: Behold a truly inspired idea...Age 8: Eileen's pink creature It started with a simple idea: to make a recognizable comfort toy for her 4 year-old son Dani, based on one of his drawing. His school had asked the children to bring in a toy from home; an emergency measure in the event of a tantrum or crying fit. Fearing he might lose his favorite, Wendy Tsao decided to make Dani a new one. Using a drawing he often made as her guide, she improvised a plush toy snowman. Five years later, Wendy Tsao has her own thriving home-based craft business - Child's Own Studio - in which she transforms the imaginative drawings of children into plush and cloth dolls; each one handcrafted and one-of-a-kind. She receives requests from parents all over the world; there's 500 people on waiting list. Note: kudos to club member Sandy Kahn for submitting the piece.

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A world of one's own

May Contain Spoilers

In a science magazine I used to read during my high school years, one of my favorite sections was on the science in SF movies. (The magazine is still published; whenever I come across it at the campus book store, it takes me back to when I was less jaded and more anti-social.) It answered my doubts on the climax sequence in "Total Recall" (1990), and pointed out that there were several implausible aspects in the premise of "Jurassic Park" (1993). In case of the movies like "Armageddon" (1998) and "Independence Day" (1996)--well, it didn't require a lot of scientific knowledge to discern that they were brainless.

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Before "Airplane!" there were the Airport movies

May Contain Spoilers

There's nothing quite like the movies if you want to learn what people's hopes and dreams were during the period in which they were made. Take for instance the recent "Up in the Air". In the present when air travel has turned into something to be endured, George Clooney's Ryan Bingham showed us how it can become an enticing way of life. The same subject was also portrayed extensively, under a very different light, some forty years as the "Airport" movies dealt with our fears of dying in new and horrible ways, while glamorizing our dreams of flying first-class, surrounded by a movie star in every seat. As the trailer for one of these features once put it: "on board, a collection of the rich and the beautiful!" They also marked the advent of a new genre (the Disaster Film) as well as the "Ark movie" which Ebert's Little Movie Glossary defines as "mixed bag of characters trapped in a colorful mode of transportation". How many films can claim to this kind of impact?

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The China / Fukushima Syndrome

May Contain Spoilers

While I heard the alarming reports coming from the Fukushima I nuclear power plant, an unforgettably intense sequence from "The China Syndrome" (1979) immediately came to my mind. An earthquake occurs without warning. The power plant is automatically shut down. They get a problem with the level of the coolant. The plant is on the verge of nuclear meltdown. The catastrophe of epic proportions may happen as a consequence.

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Blake Edwards: In Memory


Blake Edwards, the man who gave us Inspector Clouseau, breakfast at Tiffany's and a Perfect 10, is dead at 88. A much-loved storyteller and the writer of many of his own films, he was a bit of a performer himself. He directed 37 features and much TV, and was married for the past 41years to Julie Andrews, who was at his side when he died.

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Buddy Hackett: Up at drama, down at comedy.

Movies / Roger Ebert

"There was a Vegas casino that offered me twice what I was making," Buddy Hackett was explaining to me one day. "I went to look at their show room, and I said I could never work there. The money didn't matter, because in that room I would never get a laugh."

Why was that? I asked.

"Because the stage was above the eyeline of the audience. You had to look up to see the act. It was great for sight-lines but lousy for comedy, because you can never laugh at anybody you're looking up at. A comic, you have to be looking down at him. My favorite rooms, the audience is above the stage, stadium-style."

What's the logic behind that?

"You look up at drama, down at comedy. A singer, looking up is okay. A comic, it's death."

So when you go to the movies, I said, should you sit in the balcony for a comedy and on the main floor for a drama?

"Seems to me," he said.

This was one of many conversations we had in the mid-1990s, when we both found ourselves installed simultaneously at the Pritikin Longevity Center, which at that time was on the beach at Santa Monica. Hackett, a great comedian who died this week at 78, was engaged in a lifelong struggle with weight and cholesterol, although once he had me feel his calf muscles: "Hard as steel! I'm a great skier."

Hackett lived nearby, but checked into Pritikin to isolate himself from life's temptations. Other regulars were Rodney Dangerfield and Mel Brooks, who ate at Pritikin twice a week with his wife, Anna Bancroft. At lunch, Hackett would preside over a table of his guests, other comics, including George Gobel, Jan Murray and Soupy Sales.

Once a woman approached the table and said she had a joke she wanted to tell.

"Lady," said Hackett, "go tell your joke at a table where amateurs are sitting. We're professionals here. We got all the jokes we can handle."

One night Buddy brought over a tape of "Bud and Lou" (1978), a movie where he played comedian Lou Costello. He felt he'd done good work in a less than great film, and wanted his Pritikin friends to see it. Hackett's Costello comes across, as many comics do in private life, as a lonely and sad man, and I felt Hackett did a good job of portraying that--even though I never sensed gloom in his own makeup.

Hackett said he once thought he was on the edge of a great movie role. Martin Scorsese called him up and said he wanted to come over and talk to him about working in "GoodFellas."

"He comes over to the house," Buddy says, "and he tells me the scene. Ray Liotta is walking into the nightclub and the waiters seat him, and I'm on stage doing my act. So I ask, what do you want me to say? Where's the script? And Scorsese says there isn't any script. I'll just be in the background telling part of a joke. PART of a joke? "

Hackett's face grew dark.

"I stood up and walked over to the window. I invited Scorsese to stand next to me. 'Isn't that a beautiful lawn?' I said. He agreed that it was one of the most beautiful lawns he had ever seen.

"Take a real good look," I told him, "because you will never be back in this house again. Part of a joke! Get the fuck outta here!"

One day I told Buddy a true story. It took place in 1979, I said. Jack Lemmon came to Chicago to promote "The China Syndrome." He told Gene Siskel and myself he wanted to relax, and suggested we go to the Gaslight Club, where he heard there was good jazz.

Four women at another table were celebrating a birthday. They looked at our table and giggled, and finally one of them approached our table with a menu. "Here comes the autograph request," Lennon said.

"Mr. Siskel," the woman said, "I enjoy your reviews so much! Would you autograph my menu?"

Gene agreed with a smile.

"You've made my day," the woman said.

"In that case," Gene said, "your day isn't over. Did you notice who I am sitting with?"

The woman looked over.

"Ohmigod! Jack Lemmon! Oh, Mr. Lemmon, you are my favorite actor. I didn't expect to see you here! Would you sign my menu?"

Lemmon agreed. Then Gene said, "And your day still isn't over. Look who's sitting right here!" The woman looked at me, and her face broke into a delighted smile.

"Buddy Hackett!!!" she said.

After I told this story to Buddy, he nodded thoughtfully.

"The question is," he said, "didn't she know how I look, or didn't she know how you look?"

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100 Great Moments in the Movies



Roger Ebert / April 23, 1995

For the centennial of cinema, 100 great moments from the movies:

Clark Gable in "Gone With the Wind":

"Frankly, my dear, I don't give a damn."

Buster Keaton standing perfectly still while the wall of a house falls over upon him; he is saved by being exactly placed for an open window.

Charlie Chaplin being recognized by the little blind girl in "City Lights."

The computer Hal 9000 reading lips, in "2001: a Space Odyssey."

The singing of "La Marseillaise" in "Casablanca."

Snow White kissing Dopey Bashful on the head.

John Wayne putting the reins in his mouth in "True Grit" and galloping across the mountain meadow, weapons in both hands.

Jimmy Stewart in "Vertigo," approaching Kim Novak across the room, realizing she embodies all of his obsessions - better than he knows.

The early film experiment proving that horses do sometimes have all four hoofs off the ground.

Gene Kelly singin' in the rain.

Samuel L. Jackson and John Travolta discuss what they call Quarter Pounders in France, in "Pulp Fiction."

The Man in the Moon getting a cannon shell in his eye, in the Melies film "A Voyage to the Moon."

Pauline in peril, tied to the railroad tracks.

A boy running joyously to greet his returning father, in "Sounder."

Harold Lloyd hanging from a clock face in "Safety Last."

Orson Welles smiling enigmatically in the doorway in "The Third Man."

An angel looking down sadly over Berlin, in Wim Wenders' "Wings of Desire."

The Zapruder film of the Kennedy assassination: Over and over again, a moment frozen in time.

A homesick North African, sadly telling a hooker that what he really wants is not sex but couscous, in Rainer Werner Fassbinder's "Fear Eats the Soul: Ali."

Wile E. Coyote, suspended in air.

Zero Mostel throwing a cup of cold coffee at the hysterical Gene Wilder in Mel Brooks' "The Producers," and Wilder screaming: "I'm still hysterical! Plus, now I'm wet!"

An old man all alone in his home, faced with the death of his wife and the indifference of his children, in Yasujiro Ozu's "Tokyo Story."

"Smoking." Robert Mitchum's response, holding up his cigarette, when Kirk Douglas offers him a smoke in "Out of the Past."

Marcello Mastroianni and Anita Ekberg wading in the fountain in "La Dolce Vita."

The moment in Akira Kurosawa's "High and Low" when a millionaire discovers that it was not his son who was kidnapped, but his chauffeur's son - and then the eyes of the two fathers meet.

The distant sight of people appearing over the horizon at the end of "Schindler's List."

R2D2 and C3PO in "Star Wars."

E.T. and friend riding their bicycle across the face of the moon.

Marlon Brando's screaming "Stella!" in "A Streetcar Named Desire."

Hannibal Lecter smiling at Clarise in "The Silence of the Lambs."

"Wait a minute! Wait a minute! You ain't heard nothin' yet!" The first words heard in the first talkie, "The Jazz Singer," said by Al Jolson.

Jack Nicholson trying to order a chicken salad sandwich in "Five Easy Pieces."

"Nobody's perfect": Joe E. Brown's last line in "Some Like It Hot," explaining to Tony Curtis why he plans to marry Jack Lemmon even though he is a man.


The shooting party in Renoir's "Rules of the Game."

The haunted eyes of Antoine Doinel, Truffaut's autobiographical hero, in the freeze frame that ends "The 400 Blows."

Jean-Paul Belmondo flipping a cigarette into his mouth in Godard's "Breathless."

The casting of the great iron bell in Andrei Tarkovsky's "Andrei Rublev."

"What have you done to its eyes?" Dialogue by Mia Farrow in "Rosemary's Baby."

Moses parting the Red Sea in "The Ten Commandments."

An old man found dead in a child's swing, his mission completed, at the end of Kurosawa's "Ikiru."

The haunted eyes of the actress Maria Falconetti in Dreyer's "The Passion of Joan of Arc."

The children watching the train pass by in Ray's "Pather Panchali."

The baby carriage bouncing down the steps in Eisenstein's "Battleship Potemkin."

"Are you lookin' at me?" Robert De Niro in "Taxi Driver."

"My father made them an offer they couldn't refuse:" Al Pacino in "The Godfather."

The mysterious body in the photographs in Antonioni's "Blow-Up."

"One word, Benjamin: plastics." From "The Graduate."

A man dying in the desert in von Stroheim's "Greed."

Eva Marie Saint clinging to Cary Grant's hand on Mt. Rushmore in "North by Northwest."

Astaire and Rogers dancing.

"There ain't no sanity clause!" Chico to Groucho in "A Night at the Opera."

"They call me Mr. Tibbs." Sidney Poitier in Norman Jewison's "In the Heat of the Night."

The sadness of the separated lovers in Jean Vigo's "L'Atalante."

The vast expanse of desert, and then tiny figures appearing, in "Lawrence of Arabia."

Jack Nicholson on the back of the motorcycle, wearing a football helmet, in "Easy Rider."

The geometrical choreography of the Busby Berkeley girls.

The peacock spreading its tail feathers in the snow, in Fellini's "Amarcord."

Robert Mitchum in "Night of the Hunter," with "LOVE" tattooed on the knuckles of one hand, and "HATE" on the other.

Joan Baez singing "Joe Hill" in "Woodstock."

Robert De Niro's transformation from sleek boxer to paunchy nightclub owner in "Raging Bull."

Bette Davis: "Fasten your seat belts; it's gonna be a bumpy night!" in "All About Eve."

"That spider is as big as a Buick!" Woody Allen in "Annie Hall."

The chariot race in "Ben-Hur."

Barbara Harris singing "It Don't Worry Me" to calm a panicked crowd in Robert Altman's "Nashville."

The game of Russian roulette in "The Deer Hunter."

Chase scenes: "The French Connection," "Bullitt," "Raiders of the Lost Ark," "Diva."

The shadow of the bottle hidden in the light fixture, in "The Lost Weekend."

"I coulda been a contender." Brando in "On the Waterfront."

George C. Scott's speech about the enemy in "Patton:" "We're going to go through him like crap through a goose."

Rocky Balboa running up the steps and pumping his hand into the air, with all of Philadelphia at his feet.

Debra Winger saying goodbye to her children in "Terms of Endearment."

The montage of the kissing scenes in "Cinema Paradiso."

The dinner guests who find they somehow cannot leave, in Bunuel's "The Exterminating Angel."

A knight plays chess with Death, in Bergman's "The Seventh Seal."

The savage zeal of the Klansmen in Griffith's "The Birth of a Nation."

The problem of the door that won't stay closed, in Jacques Tati's "Mr. Hulot's Holiday."

"I'm still big! It's the pictures that got small!" Gloria Swanson in "Sunset Boulevard."

"We're a long way from Kansas!" Judy Garland in "The Wizard of Oz."

An overhead shot beginning with an entrance hall, and ending with a closeup of a key in Ingrid Bergman's hand, in Hitchcock's "Notorious."

"There ain't much meat on her, but what's there is choice." Spencer Tracy about Katharine Hepburn in "Pat and Mike."

The day's outing of the mental patients in "One Flew Over the Cuckoo's Nest."

"I always look well when I'm near death." Greta Garbo to Robert Taylor in "Camille."

"It took more than one night to change my name to Shanghai Lily." Marlene Dietrich in "Shanghai Express."

"I'm walkin' here!" Dustin Hoffman in "Midnight Cowboy."

W.C. Fields flinching as a prop man hurls handfuls of fake snow into his face in "The Fatal Glass of Beer."

"The next time you got nothin' to do, and lots of time to do it, come up and see me." Mae West in "My Little Chickadee."

"Top o' the world, Ma!" James Cagney in "White Heat."

Richard Burton exploding when Elizabeth Taylor reveals their "secret" in "Who's Afraid of Virginia Woolf?"

Henry Fonda getting his hair cut in "My Darling Clementine."

"Badges? We ain't got no badges. We don't need no badges. I don't have to show you any stinkin' badges!" Alfonso Bedoya to Humphrey Bogart in "The Treasure of the Sierra Madre."

"There's your dog. Your dog's dead. But there had to be something that made it move. Doesn't there?" Line from Errol Morris' "Gates of Heaven."

"Don't touch the suit!" Burt Lancaster in "Atlantic City."

Gena Rowlands arrives at John Cassavetes' house with a taxicab full of adopted animals, in "Love Streams."

"I want to live again. I want to live again. I want to live again. Please God, let me live again." Jimmy Stewart to the angel in "It's a Wonderful Life."

Burt Lancaster and Deborah Kerr embrace on the beach in "From Here to Eternity."

Mookie throws the trash can through the window of Sal's Pizzeria, in "Do the Right Thing."

"I love the smell of napalm in the morning," dialogue by Robert Duvall, in "Apocalypse Now."

"Nature, Mr. Allnut, is what we are put in this world to rise above." Katharine Hepburn to Humphrey Bogart in "The African Queen."

"Mother of mercy. Is this the end of Rico?" Edward G. Robinson in "Little Caesar."

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The Eleven Worst Ambiguous Movie Endings

Everybody hates it when they don't explain everything that happened by the time the movie is over. What we need at the end is not open-endedness but clarity, loose-end tying-up, closure. We need more movies like "Psycho" (unfortunately Simon Oakland has passed, but Larry King is still with us) and "Mulholland Dr." -- movies that take a little time to explain exactly what happened so we're not left feeling stupid all the way home. You know what they say: The difference between a comedy and a tragedy is where you end the story. Well, the same goes for the ending: The difference between a good ending and a bad ending is how good the ending is. Here are eleven of the most outrageously unsatisfactory ambiguous endings in movie history:

"Gone With the Wind" (1939) Scarlett O'Hara says, "I'll go home. And I'll think of some way to get him back. After all... tomorrow is another day." That's not the ending of a movie -- that's the beginning of act three! Put up or shut up, Scarlett. Clark Gable has just said the word "Damn" at you and that's it? If tomorrow is such another day, then bring it on!

"Casablanca" (1942) What do you mean Ingrid Bergman goes off with Paul Henreid and all Bogart's left with is the barest hint of a homosexual future with Claude Rains? At the end he puts her on a damn plane (something about how she doesn't amount to a hill of beans) and he and Rains walk off into the fog together as Bogart says, "Louis, I think this is the beginning of a beautiful friendship." Whoa! What the hell happened then? What if "Brokeback Mountain" ended right after Heath Ledger threw up? What kind of ending would that be? And how does Peter Lorre figure into it?

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