Superficially, this is a horror movie, although its distinct lack of such important elements as mounting suspense and genuine scares forces us to think otherwise.
* 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 epic uncool of Philip Seymour Hoffman; How "Selma" got smeared; The fantasy fueling "Sniper"'s popularity; Paradise in Palm Springs; Looking back at "Before Sunrise."
Highlights of our 2014 interviews, including Woody Allen, Wes Anderson, Kevin Spacey, Terry Gilliam, Eddie Redmayne, Jessica Chastain, Hilary Swank and many more.
The ten best films of 2014, as chosen by the film critics of RogerEbert.com.
Owen Wilson and Wes Anderson remember L.M. "Kit" Carson, who helped them get their start in the movie business.
Drew Tobia on "See You Next Tuesday"; Charles M. Blow: "Up From Pain"; Talking about Kevin Smith; Rob Walker on "The Haunting"; Joe Berlinger on the changing market for documentaries.
Wes Anderson talks about the sources behind "The Grand Budapest Hotel", dining with his cast every night on location, and the comic gifts of Ralph Fiennes.
"The Wes Anderson Collection" continues with a video essay on "The Life Aquatic with Steve Zissou," probably Anderson's most widely disliked feature, and MZS's personal favorite.
A video essay on Wes Anderson's second film "Rushmore," by Matt Zoller Seitz and Steven Santos. Second in a series of seven.
Appreciation of Kumar Pallana, actor, gymnast, card sharp, juggler, yoga instructor, and a charming presence in the films of Wes Anderson.
From the archives: RogerEbert.com editor Matt Zoller Seitz reprints the first-ever profile of Wes Anderson and Owen Wilson, written for Dallas Observer in 1993
What are we to make of Owen Wilson, he with the tow-colored mop of hair, the crooked nose, and the smile that seems to need so much in return? In certain contexts, Owen Wilson's smile is heartbreaking. Not just in more serious roles, but in everything. One does not often think of grown men as being "wistful" or full of "pathos"; only little plucky orphans in pig-tails and pinafores should be "wistful."
As a companion piece to our reassessment of "At Long Last Love," Peter Bogdanovich recalls the film's orgins, its forgotten pleasures, and the studio-mandated tinkering that turned it into a box office bomb. He also recalls turning down an offer of help from Gene Kelly, casting Burt Reynolds, and a remarkable encounter with Roger Ebert.
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: As some of you may have heard, a fireball lit up the skies over Russia on February 15, 2013 when a meteoroid entered Earth's atmosphere. Around the same time, I was outside with my spiffy new digital camera - the Canon PowerShot SX260 HS. And albeit small, it's got a built-in 20x zoom lens. I was actually able to photograph the surface of the moon!
(click to enlarge)
Like Mary Poppins, Disney World is "practically perfect in every way." But what our jolly 'oliday with Mary didn't reveal were the slight imperfections alluded to by that phrase's quantifier: Practically perfect? I'll bet Ms. Poppins' small glitches were legendary when they occurred. Maybe her umbrella flights damaged the ozone layer, or her spoonfuls of sugar helped wreck Dick van Dyke's Cockney accent. I speculate about near-perfection because I've been to Walt's Orlando resort 19 times, and while most of these visits went off without a hitch, when things did go wrong, they went wrong in unforgettable, spectacular fashion.
Marie writes: As some of you may know, it was Roger's 70th birthday on June 18 and while I wasn't able to give the Grand Poobah what I suspect he'd enjoy most...
Siskel & Ebert fight over a toy train (1988)
Here's what you've been waiting for: Richard T. Jameson and Kathleen Murphy present their annual "Moments Out of Time" ("Images, lines, gestures, moods from the year's films") at MSN Movies. It's kind of like film criticism as haiku. But, you know, without haiku rules. They're short poems.
From RTJ's intro at his online movie magazine, Straight Shooting:
Kathleen Murphy and I first threw together a "Moments out of Time" feature for the year 1971. I'd had a brief go at it in 1969 for Seattle's premier counterculture rag The Helix, and pretty perfunctory it was--only a dozen or so films referred to, in lines like "The terrible beauty of The Wild Bunch...." The 1971 tribute ran to several pages of the first 1972 issue of Movietone News, the Seattle Film Society newsletter that, just about that time, turned the evolutionary corner en route to becoming a legitimate film journal. As for "Moments out of Time," it continued, and grew, each year through the decade MTN was published. Subsequently it appeared when and where opportunity presented--including one year in the early 2000s when our host was the spiffy German film mag Steadycam. For the past half-dozen years we've been graciously showcased by the Movies section at MSN.com, where editor Dave McCoy has patiently accommodated us as we (all right, I) send one e-mail after another, tweaking words and punctuation to get the lines to bump in the right place.
A dozen of my favorites:
-- "Tinker Tailor Soldier Spy": Control (John Hurt), aced out of MI6 after the disaster in Budapest, announces, "Smiley is coming with me." Smiley (Gary Oldman), his back to the camera, tilts his head a millimeter -- surprise? acceptance? both?...
-- Upside-down shadows of kids at play on gray asphalt, swinging from the top of the frame in "The Tree of Life"...
-- "Midnight in Paris": the evolution of the expression on Gil (Owen Wilson) -- F. Scott Fitzgerald has just introduced him to Ernest Hemingway -- from gobsmacked to go-with-the-flow delight...
-- A drop of perspiration falling onto a café tabletop, fatally fracturing the fourth wall of a Hungarian "play" in "Tinker Tailor Soldier Spy"...
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.
"Woody Allen: A Documentary" airs on PBS stations in two parts, at 9 p. m. Sunday and Monday, Nov. 20 and 21. Check local listings for airtimes. Also available via PBS On Demand.
by Odie Henderson
I took this gig as a challenge. It's not that I hate Woody Allen; I just don't adore him as much as you would like. Plus, I live in the Bizarro World when it comes to his films, enjoying the ones most people hate and vice-versa. For example, I hated "Match Point," disliked "Annie Hall," and could never commit to "Manhattan" despite its astonishing, heartbreaking cinematography. Conversely, I loved "Deconstructing Harry," found "A Midsummer Night's Sex Comedy" amusing, and I may be the only sane person who liked "Hollywood Ending." These confessions may disturb die-hard fans, but before you vow never to read anything of mine again, you should watch American Masters' "Woody Allen: A Documentary." There you'll discover that Woody Allen dislikes most of his movies, even going so far as to offer to make a different movie for free if United Artists used "Manhattan" for kindling. Compared to that, my "meh" reaction to the gorgeous-looking film is a ringing endorsement. We now know who should be getting your hate mail, don't we?
Not that Allen would care. Robert B. Weide's exceptional documentary makes clear that critical opinion is the farthest thing from its subject's mind. The prolific writer-director has been too busy cranking out a film a year for the past four decades to worry about what anyone thinks of them. You'd have to go back to the studio system's heyday for that kind of output, work that produced eleven solo and three collaborative Oscar nominations for writing. That's two more than my beloved Billy Wilder, who coincidentally never got a solo writing nomination. Add to those fourteen writing nods his six directing nominations, sole acting nod and the resulting three wins, and you have one of the most honored filmmakers in Hollywood history. He can expect a 22nd nomination for "Midnight In Paris," which I cop to liking but not with the slobbering praise afforded it by most critics. (It's like a cross between Cliffs Notes, "The Purple Rose of Cairo" and a Tea Party rally, with all that "it's so much better in the past" nonsense.) The fact that awards mortify Allen makes these numerous acknowledgements the kind of ironic, funny joke one would find in, well, a Woody Allen movie.
Marie writes: my brother Paul recently sent me an email sharing news of something really cool at the Capilano Suspension Bridge in North Vancouver. For those who don't remember - as I'm sure I've mentioned it in the Newsletter before, the Capilano Suspension Bridge was original built 1889 and constructed of hemp rope and cedar planks. 450 feet (137m) long and 230 feet (70m) high, today's bridge is made of reinforced steel safely anchored in 13 tons of concrete on either side of the canyon (click images to enlarge.)
Marie writes: Allow me to introduce you to Bill and Cheryl. I went to Art school with Bill and met his significant other Cheryl while attending the graduation party; we've been pals ever since. None of which is even remotely interesting until you see where they live and their remarkable and eclectic collection of finds. (click to enlarge images.)
Marie writes: this past Monday, the Chicago Sun Times updated "Movable Type" - a program used to create blogs. Roger's journal for example. Other newspapers might use "Word Press" instead; same idea though. Any-hoo, it's hosted on the "new" server at the Sun-Times and as is customary, you have to login to use it. It's online software. Meaning you're totally at the mercy of any freakiness that might be going on.I mention this because there was indeed some weirdness earlier (server choked) and that, plus the fact Movable Type does things differently now, put me behind schedule. So I don't really have anything for the front page. I can go look, though! Meanwhile, just continue reading and if I find anything interesting, I'll let you know....Ooo, clams...
Arriving in Cannes by bus from the Nice airport provides a thumbnail tour of the town, from the more seedy homes on the outskirts to the swanky hotels on the waterfront. The palms lining the Croisette, the festival's de facto main drag, may be the ubiquitous symbol of city, but a few blocks away the plane trees, cypresses, and the prolific climbing roses of Provence are a more common sight. Walk a short distance from the Festival Palais and there are conspicuously un-chic restaurants where local cops congregate for dinner in the back room and retired couples hang out for a smoke and an evening beer, more often than not, with a fluffy mutt under the table.
In a way, my first reminders yesterday of everyday life in everyday France were a bracing counterpoint to this morning's press screening of Woody Allen's romantic fantasy "Midnight in Paris." The festival's opening night film is a colorful valentine to Paris, indulging and gorgeously illustrating the director's every memory and cherished illusion of the city. I've never been a big Woody Allen fan, but "Midnight in Paris" is loads of fun.
The film opens with a morning-to-night sequence of views of the city's most iconic sights: Montmartre and the Moulin Rouge, the Seine, the Arc de Triomphe and the Champs-Elysees, the narrow streets of the Left Bank, and the Eiffel Tower. That opening alone is a tourist board's dream. At the press conference later, a journalist asked Allen, who mentioned that he thought of the title long before he had a story, whether these postcard-worthy views were his own impressions of Paris, or were meant to represent the point of view of his characters. Perhaps the French questioner was hoping for the latter, but Allen replied, "I learned about Paris the way all Americans do--from the movies. I wanted to show the city emotionally, not realistically, but through my eyes.
As the opening night of the Cannes International Film Festival approaches, a host of Riviera amenities and services hope to lure my business via solicitous e-mails. Would Madame perhaps like to hire a helicopter for the journey from the Nice airport to the Festival Palais? Rent a limousine with a multilingual driver? Charter a yacht or rent a fully staffed villa with swimming pool (photos handily attached)?
Me, I'm just in the market to rent a no-frills mobile phone with a European SIM card, and I'll be taking an inter-city bus from the airport, but you get the picture. The sparkling goodies of this playground of millionaires are dangled before the thousands of accredited journalists, theater programmers, film buyers, and filmmakers soon to be heading for the legendary festival. Most of us will be pinching the Euros until they scream, but nonetheless enjoying the nonstop spectacle provided by those who get to ride around in helicopters.
The festival opens the night of Wednesday, May 11 with Woody Allen's "Midnight in Paris." "Monsieur Woodee," as the French are wont to call him, made his first visit ever to Cannes in 2002, when his "Hollywood Endings" opened the festival. Although the film was disappointingly lackluster, it certainly made no difference to his French fans, who hailed him like an emperor. I watched Allen on that occasion from a seat among the hyper-excited audience, marveling at his frail stature, almost inaudible voice, and the shrinking body language that made him seem an incongruous god of cinema.