The Farewell Party
High drama and lowbrow, morbid humor get stitched together in this successful tragicomedy about terminal patients and assisted suicide. Works better than expected.
* 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.
The University of Illinois and Chaz Ebert announce the creation of The Ebert Center.
A gallery of photos, videos and links illustrating Chaz's journey relating to Roger's legacy in the two years since his death.
A preview of Ebertfest 2015.
Open-office trend destroys workplace; Dark day for women in Hollywood; Matt Zoller Seitz on Wes Anderson; Hollywood absent from Oscars; Michael Phillips on "American Sniper."
A collection of rave reviews for Life Itself that came out of the Cannes and Sundance Film Festival.
Misogyny, entitlement and nerds; Steve Coogan vs. "Top Gear"; Why you can't see "Porgy and Bess"; Robert De Niro remembers his father; Why attacks on Douglas Laycock are bad for academia.
Life Itself, an interview with Steve James & Chaz Ebert, and "The Roger Ebert Critics Panel" all take place this week in France.
Barbara Scharres conveys her fourth day at Cannes, including screenings of "Saint Laurent" and "The Wonders," along with a press conference for John Woo's "The Crossing."
A daily report from Michael Oleszczyk on the unique double feature of How to Train Your Dragon 2 & Winter Sleep.
Another report on day 3 of Cannes 2014, featuring Winter Sleep and Wild Tales.
A Steak 'n Shake opens 50 paces from the hotel where Roger Ebert used to stay during the film festival.
Spike Lee speaks on filmmaking, his career, and race after the 25th anniversary screening of "Do the Right Thing" at Ebertfest.
Alloy Orchestra accompanies Lon Chaney's "He Who Gets Slapped," the 5th film of Ebertfest 2014.
Søren Hough of MovieFail.com talks about his experience seeing "Life Itself at a special screening for contributors to the Indiegogo campaign that helped fund the movie.
A luncheon panel shared stories and thoughts on Roger as a writer, thinker, friend and colleague.
A panel of colleagues and friends consider Roger's legacy in a panel discussion at Elmhurst College.
Today the American Pavilion remembered Roger Ebert with a panel and beachfront thumbs-up salute.
When Chaz has gone to Cannes without Roger in the past, she has written about the festival in the form of letters and postcards to Roger. These are the postcards she sends to him this year.
Saturday, May 4, was one month to the day that Roger left this earthly plane. In honor of Kentucky Derby weekend I am posting this photo of Roger and I proudly sporting our hats at Churchill Downs. There have been several photos of us wearing hats over the years. For some reason hats delighted us to no end. And Roger was particularly fond of some of the more outrageous hats we wore. That day while we were watching the races we were so pleased that we could wear our hats both in doors and out. You can’t wear a hat in a movie theater.
Another brawl in the square Another stink in the air! Was there a witness to this? Well, let him speak to Javert! -- Javert, a character in the musical "Les Misérables"
I was an eyewitness to "Les Misérables."
After repeated exposure to that dreadful theatrical trailer-cum-featurette about how the singing is all done live on camera! -- It's live! It's Live! IT'S LIVE! -- I had no intention of seeing Tom "The King's Speech" Hooper's film version of the 1980s stage musical. But when it finally came out, some of the reviews were so bad that part of me wanted to see what the stink was all about. Still, I'm not a masochist; I don't enjoy going to movies I know I'm probably predisposed to dislike just so I can dump on them. On the other hand, there's nothing better than having your low expectations upended. I did enjoy that Susan Boyle YouTube video back in 2009, but that was all I knew about the musical. I remained curious but skeptical. And then ...
• 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.
Roger and I thank you for joining us as we talked about the movies each week this past year. We have enjoyed producing Ebert Presents At The Movies and hope to continue sometime in 2012. This week we produced our last show.
It is the Best and Worst Movies of 2011 and begins airing Friday night, December 30, at 8:30 pm on WTTW, Channel 11 in Chicago, and all during the weekend and next week on public television stations across the nation. (Check local listings to find out what time it comes on in your town.)
Q. You said at the end of your Great Movies article about Kurosawa's "Red Beard": "I believe this film should be seen by every medical student." It might please you to know that my old judo teacher Dr. Paul Harper, who was also a surgeon and researcher at the University of Chicago, required all his surgery residents to watch "Red Beard." Just reading your description of some of those astonishingly beautiful scenes stirred deep emotional memories of the film. (Dave Fultz)
The movie's muse explains it all for you! Very good!
(tip: Vulture, Michael Phillips)
Few movie mannerisms annoy me as much as the gratuitous zoom, which modish hack directors have been using since the 1960s to underline and over-punctuate their shots. For a number of years (particularly in the late '60s to mid-'70s), the ubiquitous zoom, having no correlative to any function of the human eye, was most often deployed as a cheap substitute for actual camera movement. And yet, in the hands of, say, certain French New Wave filmmakers, the zoom could feel refreshingly free and spontaneous, like guerilla documentary footage. Or it could signify varying degrees of counter-cultural psychedelic grooviness, from "Laugh-In" to "Easy Rider" to... "Austin Powers." (Meanwhile, directors such as Altman and Kubrick have been known to use the zoom's telephoto properties with purpose and intelligence -- though the former used it to open up the frame and the latter to lock it down.)
Any device can be used or misused, but not even such egregious clichés as the now-ubiquitous snatch-and-grab and shaky-cam techniques, or the endlessly circling twirly cam, irritate me as much as the wanton zoom. Which is why I found this passage from Glen Kenny's piece on the Duplass's movie "Cyrus" to be both amusing and gratifying. (It doesn't matter if you or I have seen "Cyrus," or how zooms are used in that film; it's the precision of Kenny's bullshit-detector argument that I appreciate.) He observes: