Beauty and the Beast
A sturdy and frequently dazzling version that should leave audiences swooning with delight.
* 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 extensive preview of 50 films coming out within the next four months, from "Sully" to "Toni Erdmann."
A preview of the 2016 Toronto International Film Festival.
An interview with co-writer/director Alice Winocour about her new film, "Disorder."
The first films announced for the 2016 Toronto International Film Festival.
The year to date in cinema as seen by our contributors.
Jeff Nichols brings "Loving" to Cannes; Cherchez la femme; Best of Cannes so far; STX pays $50 million for unmade Scorsese movie; "Mean Dreams" thrills at Cannes.
A review of the latest from Olivier Assayas and Jeff Nichols.
An interview with filmmaker Nancy Buirski about her documentary "By Sidney Lumet."
Roger's Favorites: directors David Gordon Green and Jeff Nichols.
30 Minutes on the latest by Jeff Nichols ("Take Shelter," "Mud").
Interviews with actors Joel Edgerton and Kirsten Dunst about Jeff Nichols' Midnight Special.
An interview with director Jeff Nichols and star Michael Shannon of "Midnight Special" from Berlin.
A review of the latest from Jeff Nichols from Berlinale 2016.
David Gordon Green and Tye Sheridan, director and star of "Joe", speak about their new, acclaimed drama.
An exhaustive list of Top 10s by RogerEbert.com contributors.
Matt Zoller Seitz's Top 10 films of 2013.
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?
Director David Gordon Green has had a remarkably eclectic career, from delicate indies like "George Washington" to stoner comedy "Your Highness," with stops along the way for the "Halftime in America" Chrysler ad and episodes of HBO's "Eastbound & Down." What keeps him going?
Marie writes: It's no secret there's no love lost between myself and what I regard as London's newest blight; The Shard. That said, I also love a great view. Go here to visit a 360-degree augmented-reality panorama from the building's public observation deck while listening to the sounds of city, including wind, traffic, birds and even Big Ben.
This is a free sample of the Newsletter members receive each week. It contains content gathered from recent past issues and reflects the growing diversity of what's inside the club. To join and become a member, visit Roger's Invitation From the Ebert Club.
Marie writes: Not too long ago, Monaco's Oceanographic Museum held an exhibition combining contemporary art and science, in the shape of a huge installation by renowned Franco-Chinese artist Huang Yong Ping, in addition to a selection of films, interviews and a ballet of Aurelia jellyfish.The sculpture was inspired by the sea, and reflects upon maritime catastrophes caused by Man. Huang Yong Ping chose the name "Wu Zei"because it represents far more than just a giant octopus. By naming his installation "Wu Zei," Huang added ambiguity to the work. 'Wu Zei' is Chinese for cuttlefish, but the ideogram 'Wu' is also the color black - while 'Zei' conveys the idea of spoiling, corrupting or betraying. Huang Yong Ping was playing with the double meaning of marine ink and black tide, and also on corruption and renewal. By drawing attention to the dangers facing the Mediterranean, the exhibition aimed to amaze the public, while raising their awareness and encouraging them to take action to protect the sea.
Marie writes: Behold the entryway to the Institut Océanographique in Paris; and what might just be the most awesome sculpture to adorn an archway in the history of sculptures and archways. Photo @ pinterest
(click to enlarge.)
• Chaz Ebert at Cannes
Dear Roger: "We were once indivisible from every atom in the cosmos," and that is how I feel when I am sitting in the Palais watching movies at Cannes with a screen spread out as wide as the galaxy, the audience circling around like protons and neutrons breathing as one in empathy.
Above: The Demanders: Jana Monji, Roger Ebert, Jim Emerson, Steven Boone, Odie Henderson, Donald Liebenson. In absentia: Jeff Shannon, Kevin B. Lee. Reflected in TV: Wael Khairy. Steak 'n Shake shake courtesy of Michal Oleszczyk, who also took this photo with my camera.
Every once in a while circumstances have conspired to keep me from attending Ebertfest, but the main thing that draws me back are the people I get to see and watch movies with while I'm there, from David Bordwell (with whom I rode from Madison to Champaign-Urbana) to Festival Co-Conspirator Joan Cohl to The Man Himself, Roger Ebert, whose presence animates the event, even when he isn't in the on-stage spotlight.
For me, there were no major discoveries or revelations this year -- like, say, Jeff Nichols' "Shotgun Stories" or Yôjirô Takita's "Departures" or the astounding, mind-blowing 70mm print of Jacques Tati's "PlayTime" in past Ebertfests -- but that almost seemed beside the point. (Though I highly recommend a snappy, endlessly inventive low-budget picture called "Citizen Kane." It's terrific!)
I'm happiest hanging around, in the Virginia Theatre or the "green room" (where participants gather for lunch and dinner) with, to name but a few, some of The Demanders (a small group of writers I work with who cover VOD) or the Far-Flung Correspondents, who write about movies from their home bases all over the world: Egypt, Brazil, Turkey, South Korea... even Chicago.
A professor at my department who studied neuroscience, once told us something you have probably heard elsewhere: If you think you're crazy or getting crazy, that means you are not crazy because crazy people do not know that they are crazy. This sounds like the famous dilemma in Joseph Heller's "Catch-22." I thought it was useful advice for students who had to deal with lots of pressure and stress in the academic process. It could also be good advice for the hero of "Take Shelter" (2011), because he thinks at first something is wrong with his head, but cannot ignore what disturbs deeply him. He tries to quell his mental turbulence as much as he can, but is transformed into a more disturbed man obsessed with visions attacking him every night. It is possible that he himself is the threat to the family he wants to protect, not the catastrophe of epic proportion he fears.