In Memoriam 1942 – 2013 “Roger Ebert loved movies.”

RogerEbert.com

Thumb_pride_ver2

Pride

Takes a formulaic approach but is ultimately very effective in its retelling of the fundraising activities of Lesbians and Gays Support the Miners. Would make…

Thumb_boxtrolls_ver13

The Boxtrolls

"The Boxtrolls" is a beautiful example of the potential in LAIKA's stop-motion approach, and the images onscreen are tactile and layered. But, as always, it's…

Other Reviews
Review Archives
Thumb_xbepftvyieurxopaxyzgtgtkwgw

Ballad of Narayama

"The Ballad of Narayama" is a Japanese film of great beauty and elegant artifice, telling a story of startling cruelty. What a space it opens…

Thumb_jrluxpegcv11ostmz1fqha1bkxq

Monsieur Hire

Patrice Leconte's "Monsieur Hire" is a tragedy about loneliness and erotomania, told about two solitary people who have nothing else in common. It involves a…

Other Reviews
Great Movie Archives

Cast and Crew

* 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 Leave of Presence

Primary_roger-red-seats

Thank you. Forty-six years ago on April 3, 1967, I became the film critic for the Chicago Sun-Times. Some of you have read my reviews and columns and even written to me since that time. Others were introduced to my film criticism through the television show, my books, the website, the film festival, or the Ebert Club and newsletter. However you came to know me, I'm glad you did and thank you for being the best readers any film critic could ask for.

Continue reading →

Tinker Tailor, Moneyball: Between the lines (Part 1)

May Contain Spoilers
Primary_tttsskymigs-thumb-510x216-43397

I would never want to read a screenplay before seeing the movie based on it. As a critic, in fact, it would be a violation of my responsibilities (and ethics) to do that. The film has to be seen on its own, as a completed work; a critic shouldn't rummage through the drafts before experiencing the finished piece -- whether it's a movie or a painting or a symphony. I'm even ambivalent about reading certain books before seeing the movie versions, too, and for the same reason that I don't like to see trailers, particularly of films I'm likely to write about: I don't want to harbor preconceived ideas (even unconscious impressions) when I watch the picture. As we all know, it's hard enough to get a clean look at a movie after all the advertising and interviews and seasonal previews and reviews...

But if you want to gain some understanding of how movies are actually made (movies in general and any movie in particular) it's often enlightening to go back and take look at how the screenplay (or various drafts, re-writes, polishes) evolved into the movie that eventually wound up on the screen. Some filmmakers like Clint Eastwood often claim to simply shoot a script "as written" (though he and Dustin Lance Black did some re-working, including adding a voiceover, on the "J. Edgar" screenplay). But it can be fascinating to see how the writer(s), director(s) and editor(s) shape the material throughout the entire process -- and how moving (or removing) images and lines from one context and placing them in another changes their meaning. This is now easier to do than ever before, because so many screenplays are available online -- legitimately (For Your Consideration at studio sites) and otherwise.

Continue reading →

Chicago Film Critics announce awards

Primary_eb20111219commentary111219984ar

After years of speculation and delays, "The Tree of Life," Terrence Malick's long-awaited film that took viewers from the beginning of time to 1950s Texas, proved to be worth the wait, according to the Chicago Film Critics Association. The CFCA gave "Tree of Life" four awards including Best Picture, Director, Supporting Actress for newcomer Jessica Chastain and Cinematography for Emmanuel Lubezki.

Continue reading →