Valerian and the City of a Thousand Planets
It's a film filled with humor, charm, excitement and so many memorable images that many viewers will find themselves struggling to keep from blinking so…
* 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.
A tribute to Debra Winger, on the occasion of her first leading role in over 20 years in this week's "The Lovers."
An interview with the legendary Sam Schacht about the art of Method Acting.
A classic thriller that moves with a sense of purpose.
An article about Ebertfest, Roger Ebert's Film Festival 2017 passes, which are now on sale.
The first films announced for the 2016 Toronto International Film Festival.
An excerpt from the July 2016 issue of Bright Wall/Dark Room about Steven Spielberg and "Empire of the Sun."
Roger's Favorites: Jane Campion, writer/director of "The Piano."
Roger's Favorites: writer/directors Terrence Malick and Charlie Kaufman.
An interview with Benjamin Walker and Teresa Palmer, the stars of "The Choice."
With the release of Anomalisa, previous Charlie Kaufman masterpieces are coming back to the big screen.
Contributors to RogerEbert.com each list their favorite films of 2015.
An article on Ebertfest 2016 passes available for purchase on November 2nd.
An appreciation of Manoel de Oliveira on his passing.
An interview with Benedict Cumberbatch.
Passes for Ebertfest 2015 will go on sale Saturday, November 1st.
A report from the New York Comic-Con previewing the upcoming films, "Penguins of Madagascar" and "Home."
Migizi Pensoneau on "The Daily Show"; Why NYT TV criticism is so bad; Netflix's terrible selection; David Simon on the death of the middle class; John Cusack: "Hollywood is a whorehouse."
Three new programs premiere on NBC this week. None are worth your time.
What happens when actors play themselves? Something funny, and often magical, as this Leigh Singer supercut proves. Text by Matt Zoller Seitz.
Marie writes: I've been watching a lot of old movies lately, dissatisfied in general with the poverty of imagination currently on display at local cinemas. As anyone can blow something up with CGI - it takes no skill whatsoever and imo, is the default mode of every hack working in Hollywood these days. Whereas making a funny political satire in the United States about a Russian submarine running aground on a sandbank near a small island town off the coast of New England in 1966 during the height of the Cold War - and having local townsfolk help them escape in the end via a convoy of small boats, thereby protecting them from US Navy planes until they're safely out to sea? Now that's creative and in a wonderfully subversive way....
Alan Sepinwall breathes fire on people who spoil Game of Thrones plot developments for newcomers; why the new Doctor Who should be a man, again; the late Iain Banks in his own words; John Malkovich saves a man's life; why you won't read to the end of anything; like air guitar, but with sex.
Marie writes: the great Ray Harryhausen, the monster innovator and Visual Effects legend, passed away Tuesday May 7, 2013 in London at the age of 92. As accolades come pouring in from fans young and old, and obituaries honor his achievements, I thought club members would enjoy remembering what Harry did best.
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
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Happy New Year from the Ebert Club!TRAILERS
Fred Zinnemann's "The Day of the Jackal" (1973) is a great example of how a film can do a good job of creating tension and involving the viewer by sticking with the most basic cinematic elements. We have the benefit of comparing it with a remake ("Jackal," 1997) that went on the opposite direction and by wrongly doing everything that its predecessor got right, making he merits of the earlier version all the more evident. Both are distinctive reflections of how studios perceived audience tastes in their respective time periods. They are as different as two movies based on the same source might be and can hardly be classified in the same genre. The later entry is a brainless action flick; the original is a "thriller" in every sense of the word.