Freeheld stumbles over too many hurdles to recommend it. The film’s heart is in the right place, but its focus is not.
* 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 overview of the films that will be theatrically released in the 2015 fall season.
Sheila writes: Quentin Tarantino's films are often tributes to other films, to other genres, to actors who have made their marks in the past. He loves it all, he has enthusiasm for all. Here, in this really fun Press Play video, Tarantino's visual references to other films are made explicit, shot for shot.
Brando's A-list acting school; Sex, death and Kubrick; Five Wallace essays you must read; Gendering of martyrdom; Hackers can disable a sniper rifle.
Chaz Ebert reports on James Marsh's "The Theory of Everything" and Chris Rock's "Top Five."
The Abraham Lincoln Presidential Library Foundation honored award-winning filmmaker Steven Spielberg with the prestigious Lincoln Leadership Prize at a dinner ceremony Wednesday at the Hilton Chicago.
The Grand Poobah writes: Here's a behind the scenes lookinside our control room! This is where the magic happens.
"Beware of artists - they mix with all classes of societyand are therefore most dangerous." ~ Queen Victoriastencil by Banksy, British graffiti artistAnd who inspired a recent film about art...
It was the opening day of the Disney-MGM studios in Orlando. The stars were there with their children. There was an official luncheon at the Brown Derby, modeled after the legendary Hollywood eatery. I was beside myself. I was in a booth sitting next to Jack Brickhouse, the voice of the Chicago Cubs. A man walked over and introduced himself. "Bob Elliott." Oh. My. God. Bob, of Bob and Ray.
For me he was the biggest star in the room. Who, after all, compared to even one half of Bob and Ray, was Tom Hanks? Whoopi Goldberg? Art Linkletter? "Gosh all whillikers, Mr. Science!" I said, "What's that long brown object???" Bob didn't miss a beat: "That's known as a board, Roger."
Another man was steaming toward us through the throng. A middle-aged man, well-dressed, tanned, with a pleasant smile. "Hi, Jack!" he said. "Say, I hear Ernie Banks is invited. Yeah, I was just talking to Michael and that's what he said." Jack turned to me and said, "Roger, this is a man I want you to meet. You're going to be seeing him again many times over the years. Say hello Jerry Berliant."
The slumdog didn’t stop at winning a million, but zoomed straight on up to Oscar gold Sunday night: “Slumdog Millionaire,” perhaps the most literal rags-to-riches story ever told, swept the night, winning the Academy Award as the best picture of 2008, and seven more Oscars.
View image Looming large.
I believe it was Gordon Gecko who proclaimed: "Ham is good!"
The "Wall Street" supervillain (superhero?) was not advocating violation of any dietary laws, of course, but simply stating a fact: Sometimes Big Acting can be quite enjoyable. Other times, of course, it can be cringe-worthy, irritating, risible, embarrassing. Only you can decide which is which. For you.
Take for example the story of Faye Dunaway as Joan Crawford in "Mommie Dearest" -- she of "No wire hangers!" and "Eat your meat!" (both precursors of "I drink your milkshake!"). Pre-release publicity reports claimed that Dunaway was giving a serious dramatic performance. But from the very first screenings it was painfully (yet fasciatingly) clear that somebody was going off her rocker -- but which actress was it: Crawford or Dunaway?
Performances pitched at the balcony, or the moon, always take the risk of falling somewhere between "tour-de-force" and "trying way too hard," virtuosity and showboating. And opinions may very about where they come down. (See "A Journey to the End of Taste," below.) You may wince at the Method nakedness displayed by Marlon Brando or James Dean in some of their most intense emotional moments ("You're tearing me apart!"). Or you may rejoice at even the most outré dramatic and/or comedic efforts of Daniel Day-Lewis, Sean Penn, Johnny Depp, Bette Davis, Jack Nicholson, Klaus Kinski, Will Ferrell, Robert De Niro, Christopher Walken, Kevin Spacey, Whoopi Goldberg, Al Pacino, Robin Williams, Dustin Hoffman, Barbra Streisand, Nicolas Cage, Ben Stiller, Tyler Perry, Owen Wilson, Gene Wilder... while others find them excruciating, overwrought or unintentionally campy.
The bigger the performance, the bigger the risks. Or maybe not. Just look over the history of Oscar nominations for acting.
LOS ANGELES -- Sunday night's Oscarcast may be the first in recent history where the presenters and performers outdraw the nominees. This year's field of films and actors is of an unusually high standard, which translates to a smaller audience, given the general rule that the better something is on TV, the fewer people watch it. Consider that "Dancing With the Stars" outdrew the Olympics.
(Note from Roger Ebert: Cynthia, who now lives and works in Tucson, was a features writer at the Sun-Times in the 1970s, where our desks faced each other and we shared everything from coffee to the mysteries of the new computers. She sent me this after the death of Richard Pryor.)
HOLLYWOOD - "Million Dollar Baby" scored a late-round rally Sunday night at the 77th annual Academy Awards as Clint Eastwood's movie about a determined female boxer won for best picture and took Oscars for actress (Hilary Swank), supporting actor (Morgan Freeman) and director (Eastwood).
PARK CITY, Utah--Wrapping up the final films I saw at Sundance this year:
PARK CITY, Utah--I have just spent an hour with the 2003 program for the Sundance Film Festival, and I am churning with eagerness to get at these films. On the basis of track records, this could be the strongest Sundance in some time--and remember, last year's festival kicked off an extraordinary year for indie films.
PARK CITY, Utah I saw a group of interesting films about African Americans at this year's Sundance Film Festival, the big annual showcase for new independent films. And as I sat down to write about them, I realized that black films in America have long been "independent." Only recently, with a new generation of stars, have they moved into the studio mainstream.
Q. In your review of "Independence Day," referring to the gigantic alien space craft, you write: "an object that size in near-Earth orbit might be expected to cause tidal waves." Tidal waves, or tsunamis, are caused by sudden earth movement, not extraterrestrial objects. However, a craft one-fourth the mass of the moon, if at the same distance as the moon, would result in tides (not tidal waves) approximately 25% above normal--not fun but tolerable. If the mother ship were located one-half the distance of the moon, tidal influence of the ship would be equal to that of the moon. BUT, its orbital speed would be substantially faster, resulting in wild tides. The closer the object, the worse the effect. If the object were in close earth orbit, it wouldn't need "death rays" to destroy cities; since most major cities are seaports, they would be ravaged by wild tides. I suspect this is what you meant and it is a excellent point. (Richard George, San Jacinto, Ca.)
Q. I have been following the comments about moviegoing experiences in America, Taiwan, etc. As a Brit, having just completed a trip to New York City, it amazes me why your cinemas are so backward compared to those in London. Why do Americans tolerate such awful service? We Brits are told how much we can learn from the service industry in the U.S., but the simple task of seeing a film can turn into a nightmare! Examples: (1) Why do New Yorkers enjoy queuing up for 45 minutes to purchase a ticket? (2) Once you've bought your ticket, why do you have to queue up again to wait for the cinema to open the house doors? (3) Then, when it's open, there's an almighty rush to find the best seat, and then you have to wait another half hour before the film starts! By contrast, in going to the movies in London, we: (1) Telephone cinema and book tickets on credit card. Best available seat numbers are given. (2) Get to cinema five minutes before film starts, collect tickets, go into the auditorium, usher takes you to your seats and film starts. Simple as that. No queues. No hassle. (Darren Tossell, London)
LOS ANGELES -- Everyone expected Steven Spielberg and his great film, "Schindler's List," to dominate the 66th annual Academy Awards here Monday night, and they did - with seven Oscars, including best picture and director. But there was no sense of anticlimax; it was one of the most thrilling nights in Oscar history. As academy members rose for two standing ovations, they were obviously moved by Spielberg's triumph.
For years, the word around Hollywood has been that Oscar voters have some kind of a grudge against Steven Spielberg. He makes good movies and he makes popular movies, and sometimes he makes both at the same time, but the Academy of Motion Picture Arts and Sciences has never awarded its best director award to the most successful director in history.
NEW YORK It's a tradition of the celebrity roasts at the Friar's Club that everything goes - that no joke is in such bad taste that it cannot be told. Friday, that tradition may have ended, as a roast for Whoopi Goldberg turned into such a tasteless display that some audience members hid their faces in their hands, and others left.
The ballots have all been returned and counted, and at 7:30 a.m. tomorrow this year's Academy Awards nominations will be announced at a press conference to be telecast, so they say, around the world. It will no doubt be an Oscar year like all years, filled with surprises and injustices, nominations deserved and undeserved.
NEW YORK -- Preaching in the words and style of Malcolm X, standing sometimes in the same places where he stood, Denzel Washington began to understand the man's power. "You get up in front of a hundred or a thousand people, and you go on this journey together, and you feed them this call-and-response style of preaching, and it's like a drug, a powerful drug," Washington told me, a few days before the film opened on Wednesday.
Ebert's Best Film Lists 1967 - present
CANNES, France -- The French New Wave was a rebirth of French films in the early 1960s, and the German new wave represented the same process in Germany in the 1970s. Now black American filmmakers are developing a new stylistic and personal vision that reached critical mass at this year's Cannes Film Festival. In May of 1991, here in the incongruous setting of the French Riviera, far from the urban settings of most of their films, the black new wave came of age.