The Transporter Refueled
The Transporter Refueled is an unnecessary bore from start to finish, one that even the most devoted Luc Besson fanatics will find difficult to defend.
* 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 preview of Ebertfest 2015.
The Ebert Club Newsletter is 1 year old!
The Museum of Contemporary Art, Los Angeles (MOCA), presents Dennis Hopper Double Standard, the first comprehensive survey exhibition of Dennis Hopper's artistic career to be mounted by a North American museum. The exhibit will run July 11 through September 26, 2010, at The Geffen Contemporary at MOCA. The display will be curated by Julian Schnabel amd include more than 200 photographs, sculptures and paintings which will be the focal points of the exhibet. Hopper's works can also be seen in the book "Dennis Hopper: Photographs 1961-1967" - which was published in 2009 by Walter Hopps.For more information about the exhibit: MOCA Press release (.pdf file)
The volcano gods were in a snit on Monday, and I arrived in Cannes on Tuesday six hours later than planned, following some frustrating encounters with ticket agents in Frankfurt Airport. Chicago Tribune critic Michael Phillips was on my flight from Chicago, having had his entire original reservation canceled due to drifting volcano ash. I heard delay stories everywhere, and figured I got off easy.
After fast dash to the Palais des Festivals five minutes before the office that issues accreditation badges closed, I picked up my press badge and film market badge. The Cannes skies were dark and threatening, with fog hanging over the distant mountains. I hoped that this wasn't a sign of weather gloom to come.
Psychologists say that depression is rage turned inward. Stand-up comedy, on the other hand, is rage turned back outward again. (I believe George Carlin had a routine about the use of violent metaphors directed at the audience in comedy: "Knock 'em dead!" "I killed!") In the documentary "Heckler" (now on Showtime and DVD) comedian Jamie Kennedy, as himself, plays both roles with ferocious intensity. The movie is his revenge fantasy against anyone who has ever heckled him on stage, or written a negative review... or, perhaps, slighted him in on the playground or at a party or over the phone or online.
"Heckler" (I accidentally called it "Harangue" just now) is an 80-minute howl of fury and anguish in which Kennedy and a host of other well-known and not-well-known showbiz people tell oft-told tales of triumphant comebacks and humiliating disasters, freely venting their spleens at those who have spoken unkindly of them. At first the bile is aimed at hecklers in club audiences (with some particularly nasty invective for loudmouthed drunken women), then it shifts to "critics" -- broadly defined as anybody who says something negative about a figure whose work appears before a paying public. Some of the critics are actually interested in analysis; some are just insult comics who are using the Internet as their open mic. It gets pretty ugly, but it's fascinating -- because the comics, the critics and the hecklers are so much alike that it's no wonder each finds the others so infuriating.
by Roger Ebert
* Denotes winner.
From the Associated Press
by Roger Ebert
View image Conspiracy or coincidence? "There Will Be Blood" opened nationwide on Friday and won the Village Voice/LA Weekly film poll and the National Society of Film Critics poll the same weekend! What can it mean?
"There Will Be Consensus": That was the headline for the intro by Village Voice film critic (and self-described "lapsed structuralist") J. Hoberman, accompanying the results of the annual film critics' poll co-sponsored by the Village Voice and the L.A. Weekly, which are both published by Village Voice Media (along with the SF Weekly, Seattle Weekly, Kansas City Pitch, Nashville Scene, Cleveland Scene, Dallas Observer, Miami New Times, Phoenix New Times, Minneapolis/St. Paul City Pages, and several more). Unless you read the same piece by Hoberman in the LA Weekly, in which case the headline was "If It Bleeds, It Leads." I don't know what the headline was in those other weeklies, but you can look it up if you like.
Here, then, is the bleeding consensus, which is, as you might expect, practically everything you would expect in a consensus -- which is to say hardly anything that you would not expect. (Like Iowa.) 1. "There Will Be Blood" (Paul Thomas Anderson, USA) 2. "No Country for Old Men" (Joel & Ethan Coen, USA) 3. "Zodiac" (David Fincher, USA) 4. "4 Months, 3 Weeks and 2 Days" (Cristian Mungiu, Romania) 5. "I'm Not There" (Todd Haynes, USA) 6. "Syndromes and a Century" (Apichatpong Weerasethakul, Thailand/France/Austria) 7. "The Diving Bell and the Butterfly" (Julian Schnabel, France/USA) 8. "Killer of Sheep" (Charles Burnett, USA, 1977) 9. "Ratatouille" (Brad Bird, USA) 10. "Colossal Youth" (Pedro Costa, Portugal/France/Switzerland)No surprises there -- at least not if you've been paying any attention to mainstream movie reviews coming out of New York, Los Angeles or the major international film festival circuit (Cannes, Telluride, Toronto -- the launching pads for most of the above) in both 2006 and 2007. Compare to the indieWIRE poll results, which are almost identical -- with late-December opener "The Diving Bell and the Butterfly" at #13 (IW) instead of #7 (VV/LA); "Assassination of Jesse James" at #7 (IW) instead of #12 (VV/LA); and -- the most dramatic difference! -- "Ratatouille" at #20 (IW) instead of #9 (VV/LA).
I wonder: Were it not for DVDs -- especially DVD critics' screeners -- and, to a lesser extent, On Demand distribution channels like HDNet and IFC First Take, how many of these films would have had the chance to become critical favorites outside of New York (and maybe LA) by the end of 2007? What are the odds that films that never even played theatrically in more than one or two American towns ("Syndromes and a Century," "Colossal Youth"), or that don't open in more than a few until 2008 ("There Will Be Blood," "4 Months, 3 Weeks, 2 Days," "The Diving Bell and the Butterfly") would have placed so strongly in national critics' polls with mid-December deadlines? I think I'm impressed... unless, wait a minute, the success of such films is actually further evidence of insular critical hype and inbred groupthink. But why choose to think of it in that way?
From this link you can see all the vote-getters by category (feature films, performances, documentaries, first films, undistributed films, worst film), or look at the individual contributors' ballots here. Including mine, although I immediately regretted impulsively citing "Southland Tales" as the "worst" movie I saw in 2007 and still do. I'd much rather make a case against the bloodless literalism of "Sweeney Todd" (musically, sexually and politically neutered) or "Youth Without Youth" or "The Diving Bell and the Butterfly." But let's keep things in perspective. None of those movies expressed a cinematic worldview quite as reductive as those reviews of "No Country for Old Men" that invoked this year's most hackneyed substitute for criticism, summarized in this clip from Hoberman's intro: In formal terms, the Coen brothers' latest pinball machine is obviously superior to 90 percent of the year's releases. But it's also a soulless enterprise, with nothing more on its mind than the expert manipulation of the spectator, critics included.The Voice didn't run a Hoberman review of "No Country for Old Men" (it reprinted Scott Foundas's admiring piece from the LA Weekly), so we may never know more precisely what Hoberman thinks he is "obviously" saying about the movie, or the movies, or himself. (Some of my responses to similar autonomic spasms can be found here and elsewhere. In what language can something that is "obviously superior to 90 percent" of movie recent releases "in formal terms" be considered the equivalent of a "pinball machine" -- one that manipulates instead of being manipulated? What is the nature or significance of such "formal" superiority if we're drawing comparisons between movies and pinball machines? Is a wristwatch formally superior to a Mondrian? Which one? Why? The answer, obviously, is Salvador Dali's 1937 movie script for the Marx Brothers, "Giraffes on Horseback Salad.")
Hoberman offers the opinion that "NCFOM" might well be his choice for the year's "Most Overrated" picture if there were such a category as that. And in his next paragraph he announces he's pleased that the strenuously over-praised and over-maligned "Southland Tales" tied with the comparably ambitious and significant "The Bucket List" for the year's Worst Film -- though each really only received five votes -- just ahead of "300" and "Hostel: Part II" with four each, and "Juno," "Margot at the Wedding," "Redacted" and "Trade" with three): You know something's happening when "Southland Tales" also headed three critics' lists as the year's Best Film [Melissa Anderson, Bill Krohn, Nathan Lee]. Time constraints have made it impossible to calculate the 2007 poll's Passiondex— my formula to measure the degree of ardor with which critics voted for particular movies—but my heart tells me that "Southland Tales" is the obvious winner. Here is a movie that some people love and others love to hate. That's double passion! And that's good.Yes, doubleplusgood passion. Something must be happening. Hoberman predicts that Pedro Costa's "Colossal Youth" (#10) might have been the year's choice for Worst Film "had more critics seen it" ... although, in fact, nobody did vote for it in that category, including critics who had seen it. This makes me wonder if, perhaps, there might have been any other films this year that some critics loved and others just hated... Nah.
by Roger Ebert
Dillon Freasier (great!) and Daniel Day Lewis (... BIG!) in "There Will Be Blood."
The Los Angeles Film Critics Association (my former homies) have announced their collective choices for best achievements of 2007 and... well, for now, I'll just say that I doubt most of them would even be on my short list of runners-up for this year. (I haven't seen "Sweeney Todd" or "Diving Bell and the Butterfly" yet, though.) I'm glad that some honorees are getting recognition: Milestone Films, Sarah Polley, Glen Hansard and Marketa Irglova (from "Once": music as dialog/acting), Jack Fisk (to whom I will always be grateful for, among other things, the prom in "Carrie," the house in "Days of Heaven," and pulling the lever in "Eraserhead" -- yes, that was him), "Persepolis" and "Ratatouille" (tied for best animated feature), Vlad Ivanov (for negotiating the trickiest of roles) and a few others. But I know how misleading these group-ballot things can be. LAFCA's list does leave the impression that they felt "Blood" (and, perhaps, "The Diving Bell and the Butterfly") tower the rest of the year's releases. I wonder if that's really the overwhelming majority opinion, or if it's another case of second- or third-choice consensus carrying the day. Too many of these seem like Academy-style picks to me (Most Noticeable Acting, Most Obvious/Intrusive Score, etc.). More about that later on in the month...
UPDATE (12/10/07): LAFCA member Robert Koelher writes to Jeffrey Wells at Hollywood Elsewhere: "I've cited to both Anne Thompson and David Poland the various fictions they've written about re. LAFCA's awards, namely that our pick for 'TWBB' had to do with going against National Board of Review (Anne) or the Academy (David). And now you say we were generally flying the contrarian flag. [...]
"By a wide margin, LAFCA felt... that 'There Will Be Blood' was the best American film of the year. That's all. No chess work, no calculations, no triangulation -- nothing but a matter of taste based on seeing more movies over the year than anybody else.
"And Jeff, the group judgement was based -- with perhaps no exceptions, since there was simply no time for most or all of us to view it more than once -- on a single viewing of 'TWBB.' It's a great movie on the first viewing."
[NOTE: In my post I did not surmise that LAFCA was intentionally striking any groupthink contrarian pose. I know from experience that it doesn't really work that way -- and, besides, LAFCA is the first crix group to vote, so what's to react against? But I wondered about the margin of victory, a legitimate question regarding the results of any balloting or committee decision-making procedure -- including the Oscars. Koehler's letter helps clarify that. I'm glad to know I disagree with some genuine majority sentiments rather than some statistical flukes. I disagreed with some choices when I was a member of the group, too -- and I don't know anyone who didn't, from time to time. It's a group of critics, you know....]
The LAFCA 2007 awards:
PICTURE: "There Will Be Blood" RUNNER-UP: "The Diving Bell and the Butterfly"
DIRECTOR: Paul Thomas Anderson, "There Will Be Blood" RUNNER-UP: Julian Schnabel, "The Diving Bell and the Butterfly"
ACTOR: Daniel Day-Lewis, "There Will Be Blood" RUNNER-UP: Frank Langella, "Starting Out in the Evening"
ACTRESS: Marion Cotillard, "La Vie en rose" RUNNER-UP: Anamaria Marinca, "4 Months, 3 Weeks and 2 Days"
SUPPORTING ACTOR: Vlad Ivanov, "4 Months, 3 Weeks and 2 Days" RUNNER-UP: Hal Holbrook, "Into the Wild"
SUPPORTING ACTRESS: Amy Ryan, "Gone Baby Gone" and "Before the Devil Knows You’re Dead" RUNNER-UP: Cate Blanchett, "I’m Not There"
UPDATED 10/16: Here are brief reviews of all the Chicago Film Festival movies we have seen, in alphabetical order, written by Bill Stamets and Roger Ebert. More will be added as we view them. For a full CIFF schedule, go to www.chicagofilmfestival.com or call (312) 332-FILM.
I have before me a schedule of the 2007 Toronto Film Festival, which opens Thursday and runs 10 days. I have been looking at it for some time. I am paralyzed. There are so many films by important directors (not to mention important films by unknown directors), that it cannot be reduced to its highlights. The highlights alone, if run in alphabetical order, would take up all my space.
Ebert's Best Film Lists1967 - present
Q. In "The First Wives club," when the women are discussing plastic surgery, Bette Midler says to Goldie Hawn, "Did you have just a little done, or did you get the full enchilada?" If memory serves me correctly (and I'm sure it does), in the theatrical preview containing this scene, Midler says "or did you get the full Ivana?" During the actual film, it is very apparent that they did an audio dub over "Ivana" to replace it. I'm wondering if, considering Ivana Trump was in the movie, they felt that they should change it. (Matt Thiesen, Maple Grove, Minn.)