Jason Bourne is a film that, as a fan of the series, I kept trying to like. It just wouldn’t let me.
* 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 interview with writer/director Jeremy Saulnier about his punk rock thriller "Green Room."
An appreciation of Jonathan Demme's "The Silence of the Lambs" on its 25th anniversary.
Jessica Ritchey's poetic remembrance of the final months of her father's life, through the movies she saw.
Remembering "The Last of the Mohicans"; Daniel Radcliffe's farting corpse; The most recalcitrant "ism" of all; László Nemes and Géza Röhrig on "Son of Saul"; Roger Deakins on "Hail, Caesar!"
To celebrate Roger's birthday, we picked some of our favorite reviews of films he loved.
A list of the two-and-a-half-star reviews so far posted on RogerEbert.com this year.
A guide to the latest Blu-ray, VOD, and streaming options, including "Fifty Shades of Grey," "American Sniper," and "Blackhat".
A reposting of Godfrey Cheshire's landmark essay in anticipation of the Critic's Forum at Ebertfest.
A guide to the best new releases on Blu-ray and DVD, including Nightcrawler, John Wick, Dear White People, Force Majeure, and more.
The female journey as an existential quest; Richard Pryor's Hollywood Bowl meltdown; Stop GamerGate; "Selma" is a horror movie; "Blackhat" scoring controversy.
A look at the character-defining aspect of the chase in Michael Mann's "Heat," "Manhunter," and "Public Enemies," on the eve of the release of "Blackhat."
An interview with Ava DuVernay and David Oyelowo, director and star of "Selma."
A bi-weekly feature on the best new streaming and Blu-ray releases, including "Comet," "L'Avventura," "Les Blank: Always For Pleasure," "Starry Eyes," and more.
An interview with Jessica Chastain, star of "Miss Julie," opening tonight at the Chicago International Film Festival.
An excerpt from "Tom Cruise: Anatomy of An Actor."
RogerEbert.com contributor Godfrey Cheshire's landmark two-part series "Death of Film/Decay of Cinema" anticipated many of the changes that would later shake the medium to its core.
An appreciation of Michael Mann's "The Insider" on its 15th anniversary that connects Michael Mann's film with the westerns of Howard Hawks.
A career view on Bill Murray; Personally connecting to Her; An editor from The New Yorker waxes poetic on aging, intimacy and death; Long takes on television; and a Hollywood desert land.
Simon Abrams on two sequels: "The Trip to Italy", the sequel to the hilarious "The Trip", and "The Raid 2".
Recent books by Alan Sepinwall and Brett Martin talk about the new “TV revolution,” but looking at the medium’s past is a reminder that revolutions are always cyclical.
Tommaso Tocci reports on "Gravity," the opening night film of the 70th Venice Film Festival.
Woody Allen speaks; confessions of a white Southern Christian racist; YouTube cofounders launch new video service; Pixar discovers animal rights; David Gordon Green a go-go; druglord Rafael Caro Quntero released from prison; trailer for Spike Jonze's new movie.
Remembering Dennis Farina; why Nate Silver doesn't do the Oscars well; eulogizing Detroit; deeper into Troma.
"A man can be an artist ... in anything, food, whatever. It depends on how good he is at it. Creasey's art is death. He's about to paint his masterpiece." -- Rayburn (Christopher Walken), "Man on Fire" (2004)
While I've never been a fan of the late Tony Scott or Christopher Nolan, a few thoughtful articles in recent days have helped me see them in new lights, and got me to thinking about their resemblances as well as their dissimilarities. Several appreciations of Scott (especially those by Ignatiy Vishnevetsky, Bilge Ebiri, David Edelstein and Manohla Dargis), along with David Bordwell's incisive essay on Christopher Nolan ("Nolan vs. Nolan") got me to thinking about the common assumptions about these popular filmmakers, both of whom are known for quick, impressionistic imagery, intercut scenes, slam-bang action and a CGI-averse insistence on photographing the real world.¹ Regardless of what you ultimately make of their work, there's no question they've done it their way.
This is an attempt to look at both filmmakers through the prism of others' points of view, refracted in critical appraisals like the above.
Of course, Scott and Nolan have passionate admirers and detractors. Until Scott's shocking suicide last week (from a bridge, a landmark that figures hauntingly in the climaxes of several of his movies), I wasn't aware of many critics who championed his movies, but with a few exceptions the obits seem to have been more admiring than the reviews over the years -- understandably, under the sad circumstances.
Those who applaud Scott and Nolan's films see them as genre boundary-pushers (thrillers, action pictures, science-fiction, superhero movies); those who denigrate them see them as symptomatic of the debasement of resonant imagery in modern Hollywood movies. Both have been subjected to that worst of all critical insults, comparisons to Michael Bay:
"'Inception' may have been directed by Christopher Nolan, but Nolan's dreams are apparently directed by Michael Bay." -- Andrew O'Hehir, "Inception: A clunky, overblown disappointment"
"If it sounds like I'm describing Michael Bay, that's because I sort of am. What we like to think of today as the Bay/Jerry Bruckheimer aesthetic was, in fact, originally the Tony Scott aesthetic (often deployed in films made for Bruckheimer and his late partner Don Simpson). Only back then there was a lot more art to it." -- Bilge Ebiri, "To Control Something That's Out of Control: On Tony Scott"
One of Scott's notable defenders has been The New York Times' Manohla Dargis. She identifies him as a "maximalist" who used "a lot of everything in his movies: smoke, cuts, camera moves, color. This kind of stylistic, self-conscious excess could be glorious, as in his underappreciated film 'Domino' (2005)," which Roger Ebert also somewhat grudgingly admired, quoting a character to describe the movie itself as having "the attention span of a ferret on crystal meth." Dargis writes: