X-Men: Apocalypse is a confused, bloated, mess of a film.
* 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.
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.
Something nice happened to us while we were preparing the schedule for Ebertfest 2012, which plays April 25-29 at the Virginia Theater (above) in Champaign-Urbana, Ill. We'd invited Patton Oswalt to attend with his "Big Fan. He agreed and went one additional step: "I'd like to personally choose a film to show to the students, and discuss it."
Marie writes: I received the following from intrepid club member Sandy Kahn and my eyes widened at the sight of it. It's not every day you discover a treasure trove of lost Hollywood jewelry!
Grace Kelly is wearing "Joseff of Hollywood"chandelier earrings in the film "High Society" (1965)(click image to enlarge.)
"The Loving Story" premieres on Valentine's Day, February 14, at 9 p.m. on HBO (check local listings), and is available via HBO On Demand and HBO Go thereafter.
"The Loving Story" is as modest and taciturn as its subject, an interracial couple who, in 1958 rural Central Point, Virginia, just wanted to be left alone. For the most part, they were, and that was the problem as much as it was their fervent wish. When the local sheriff busted into their bedroom at 4 am and hauled them off to jail for violating the Racial Integrity Act, there was no national audience, in contrast to the fire hosings, bombings and other acts of racist terror that couldn't help but make the evening news at the time. The whole world was not watching. It's hard to fathom why after seeing the luminous 16mm footage uncovered in "The Loving Story." Documenting many pivotal moments in the case, it adds a dash of something rarely seen in the grand narrative of the American Civil Rights struggle: romance.
In the footage and iconic photographs, the Lovings appear to be deeply in love. Richard is a silent, barrel-chested Ed Harris lookalike; Mildred is shy and beautiful, the essence of poised intelligence. How could a story this simple and universal, with two photogenic romantic leads captured in a Life magazine feature, get lost in the Civil Rights shuffle?
The Loving case eventually went all the way to the Supreme Court, and all along the way, the couple insisted upon discretion and privacy. Only a small documentary crew -- filmmaker Hope Ryden and cinematographer Abbot Mills -- gained access to their home, but they made the most of it. The photography is as discreet but watchful as Mildred herself. When she, well, lovingly buckles her little daughter's suede shoe as they prepare for an outing, the camera isolates the mother's slender brown arm steadying her child's pale leg. In the film's context, as assembled by producer-director Nancy Buirski, moments like this one simply cry out, "Why on earth would a decent person want to disrupt this beautiful life?"
Making lists is not my favorite occupation. They inevitably inspire only reader complaints. Not once have I ever heard from a reader that my list was just fine, and they liked it. Yet an annual Best Ten list is apparently a statutory obligation for movie critics.
My best guess is that between six and ten of these movies won't be familiar. Those are the most useful titles for you, instead of an ordering of movies you already know all about.
One recent year I committed the outrage of listing 20 movies in alphabetical order. What an uproar! Here are my top 20 films, in order of approximate preference.
Marie writes: Why a picture is often worth a thousand words...Production still of Harold Lloyd in "An Eastern Westerner" (1920)
or: as promised, an explication of why I chose these pictures and sounds:
I. Titles: Chad Feldheimer gives the invocation (Brad Pitt in Joel and Ethan Coen's "Burn After Reading").
II. Prologue: Hannah Schygulla, Goddess of Fassbinder, Animating Spirit of Cinema, awakens to look us in the eye and set the movie-countdown in motion. (From "The Edge of Heaven." I tweaked it to begin in black and white and fade into color.)
10. "The Fall" (Tarsem Singh; comedy, Western/Eastern, fantasy, adventure). "The Fall" is a tall tale about storytelling and the movies -- the shadows that flicker on screens and the images that excite our imaginations. It is a tale told by an injured American stunt man, bedridden in a Los Angeles hospital circa 1915, and filtered through the consciousness of a little Romanian girl with limited English and a broken arm. She craves the story as much as he craves morphine. He becomes a too-human god, creator and destroyer of worlds; she becomes hooked.
The shot quoted above is a piece of shadowplay from the opening sequence -- the reverse-image of a bridge and a locomotive imprinted on the surface of the water. The white specks are men in the water. A figure on the shadow-bridge tosses them a rope, which becomes a thread linking the positive and negative sides of the picture in the same shot. The rope itself snakes out in shadow (in the foreground, illuminated from behind, not cast on the water) until the tangled coil appears, falling through sunlight, set off against the shadow of a pillar of smoke, and the "tail" is swallowed up by the black of the bridge. "The Fall" accomplishes astounding feats like that throughout.
Roger Ebert's best movie lists from 1967-present
Son (Michael Shannon). Opening shot: "Shotgun Stories."
In Sally Potter's "Yes," there's a scene in a restaurant kitchen in which a Lebanese chef and a young Brit-punk dishwasher get into fierce confrontation (you can't really call it an "argument") over politics and religion. The kid grabs a frying pan and goes after the chef. The chef picks up a knife. Standoff. The manager arrives. Summarily, he fires the chef.
In the Q & A after the screening at Ebertfest, some people said they thought this was clearly a race-based (or racist) decision on the manager's part. Others debated the choice of weapons: Didn't a knife appear more threatening than a pan?
He (Simon Abkarian), "Yes."
Back up two weeks to the Cinema Interruptus series of screenings at the Conference on World Affairs in Boulder, CO: We're looking at the scene in "No Country for Old Men" in which Sheriff Ed Tom Bell returns to the scene of the crime at the motel. [Spoiler alert -- although why you would be reading this blog if you haven't seen "NCFM" is beyond me.] The way the scene is constructed, we expect Chigurh to be standing behind the door when Ed Tom enters the room. The door opens flat against the wall. Ed Tom steps over a pool of dried blood in the doorway, looks around the room, checks the bathroom window (which is locked from the inside) and, relieved, sits down on the bed. He notices an air vent that has been removed. Four screws and a dime are on the floor.
What more do you need to know? I'm not saying it's unreasonable to want to know. But take a moment to look before you start jumping to conclusions. What is there and what is not there. Does the movie provide the answer(s) to your questions, or does it not? If not, what does that decision tell you? That the Coens are sloppy or forgetful? That they're interested in something else, like the experience Ed Tom has just gone through? That maybe you're asking the wrong questions? What else?