Deadpool is a fun character, but he’s still in search of a fun movie to match his larger-than-life personality.
* 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.
Contributors to RogerEbert.com each list their favorite films of 2015.
An article on the 2016 Golden Globe nominees.
A report from AFI Fest on "Concussion" starring Will Smith.
The Oscar for Best Actor could come down to a battle between actors considered overdue for their first Oscar.
Anthony Daniels on "Star Wars VII"; History of Action-Movie Heroes; Love in the films of Jacques Démy; Emma Thompson on Trump; How Netflix could change the movie business.
An overview of the films that will be theatrically released in the 2015 fall season.
Sheila writes: Neurologist and author Oliver Sacks died on August 30 at the age of 82. The obituary in the New York Times gives an overview of this man's extraordinary career and contributions. The site Open Culture has a small post about Oliver Sacks' final Tweet which was a link to a video of a flash mob orchestra gathering to play Beethoven's "Ode to Joy" in a large public square. Sacks' Tweet read: "A beautiful way to perform one of the world's great musical treasures." His curiosity and appreciation of life in all its variety remained intact until the very end. Here is the video of that flash mob which is, indeed, "beautiful."
A guide to the latest releases on Blu-ray, DVD, and streaming, including Spring, Focus, Jupiter Ascending, and more!
Meet the critics attending Ebertfest 2015.
No universal "right age" for movies; Rise of Will power; Conversation with Madonna; Waitress anthropologist Candacy Taylor; Errol Morris as prosecutor.
Nell Minow responds to our Movie Love Questionnaire.
Major outlets call the man who assaulted America Ferrera at Cannes and Brad Pitt in Hollywood a "prankster." They're wrong to do so.
Gerardo Valero sees the potential for a good remake in "Escape from New York."
Marie writes: For those unaware, it seems our intrepid leader, the Grand Poobah, has been struck by some dirty rotten luck..."This will be boring. I'll make it short. I have a slight and nearly invisible hairline fracture involving my left femur. I didn't fall. I didn't break it. It just sort of...happened to itself." - Roger
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"Extraterrestrial" (90 minutes) premieres simultaneously on June 15th on DVD and all major on-demand platforms. It also opens June 15th in limited theatrical release.
If you've seen the 2007 thriller "Timecrimes," you already know that Spanish writer-director Nacho Vigalondo has a noteworthy knack for developing big ideas (in this case, time travel) on an intimate scale. "Timecrimes" marked a promising debut, with Vigalondo in full command of limited resources: With only three central characters and a tightly restricted location, he executed a cleverly conceived plot with stylish economy and Hitchcockian flair.
With his second film, "Extraterrestrial, " Vigalondo presents another, more intricate exercise in thwarting expectations. Imagine the bloated-budget excess of a blockbuster like "Independence Day," with dozens, maybe even hundreds of gigantic alien spaceships hovering ominously over Earth's major cities. Now take the same alien invasion scenario, eliminate 99% of the special effects and spectacle, and shift its focus to four lovelorn apartment dwellers in an abandoned city (in this case Madrid) as they proceed to confuse each other with a comedic succession of lies.
Now you've got "Extraterrestrial," in which the only E. T. is... well, I'm not going to spoil it for you, but here's a clue: Think of Vigalondo as the anti-Roland Emmerich. He has no apparent interest in epic battles requiring Will Smith to save the world against slimy, monstrous aliens. Instead, Vigalondo attempts an audacious bait-and-switch, keeping his "epic" sci-fi entirely in the background while focusing on what is, essentially, a farcical rom-com about three guys in love with the same woman. It's a daring attempt at genre-bending that doesn't always pay off, but it's a refreshing alternative to uninspired, play-it-safe blockbusters.
I find it easy and necessary to forgive the sources of my wounds. Most of them. I find it impossible, however, to forgive others for wounds inflicted upon my loved ones - especially my friends, siblings, children, and parents - even when the victims themselves are forgiving. But, most of all, I'm often imprisoned by my own remorse for the real and perceived impact my choices have had on others. Remorse is a vicious debt collector that knocks on the door to my heart on its own erratic schedule. Such is the case with Will Smith in Gabriele Muccino's "Seven Pounds" (2008).
Marie writes: I can't prove it but I'm convinced they're related.
Why not fold documentaries into my list of the "Best Films of 2011?" After all, a movie is a movie, right? Yes, and some years I've thrown them all into the same mixture. But all of these year-end Best lists serve one useful purpose: They tell you about good movies you may not have seen or heard about. The more films on my list that aren't on yours, the better job I've done.
That's particularly true were you to depend on the "short list" released by the Academy's Documentary Branch of 15 films they deem eligible for nomination. The branch has been through turmoil in the past and its procedures were "reformed" at one point. But this year it has made a particularly scandalous sin of
This is a free edited sample of the Christmas Newsletter.
For Roger's invitation to the Club, go here.
From the Grand Poobah and Mrs. Poobah:
Seasons Greetings Everyone!
From the Poobah: Chaz and Roger Ebert wish you Peace in the New Year!
Lesson for the day: How to have fun while wasting time... Marie writes: welcome to DRAW A STICK MAN, a delightful Flash-based site prompting viewers to draw a simple stick figure which then comes to life! Ie: the program animates it. You're given instructions about what to draw and when, which your dude uses to interact with objects onscreen. Thanks go to club member Sandy Kahn who heard about it from her pal Lauren, in Portland Oregon.Note: here's a screen-cap of what I drew; I've named him Pumpkin Head.
Every semester, I ask my students this one simple question. "Can you honestly say that you are happy?" In a class of 40 students, maybe only six will raise their hands. And that is pretty sad.
Are they plagued by those uncertainties of youth? Are they wondering if they will find a career, love, or meaning? Are they terrified by the threats of terrorist attacks, financial collapse, climate change and, well, the Apocalypse? Or, have they decided that the "American Dream" was not Thomas Jefferson's vision, but is instead a sappy Hollywood fantasy? Or, maybe they just hate my class? Sure.
In answering this question, Gabriele Muccino's "The Pursuit of Happyness," takes many usual directions that Hollywood movies take. At first, he seems to answer the question the way we would expect a Hollywood filmmaker to answer:
From an interview with "Transformers: ROTFL" director Michael Bay at Wall Street Journal Online:
Megan Fox, one of the leads in "Transformers" has criticized your films for being special-effects-driven and not offering so many acting opportunities. Do you agree?
Well, that's Megan Fox for you. She says some very ridiculous things because she's 23 years old and she still has a lot of growing to do. You roll your eyes when you see statements like that and think, "Okay Megan, you can do whatever you want. I got it." But I 100% disagree with her. Nick Cage wasn't a big actor when I cast him, nor was Ben Affleck before I put him in "Armageddon." Shia LaBeouf wasn't a big movie star before he did "Transformers" -- and then he exploded. Not to mention Will Smith and Martin Lawrence, from "Bad Boys." Nobody in the world knew about Megan Fox until I found her and put her in "Transformers." I like to think that I've had some luck in building actors' careers with my films.
So there! But what did Fox actually say about being in "Transformers"? Here are some excerpts from her cover interview in Entertainment Weekly:
Q. You said the final image of "The Assassination of Jessie James" was a Credit Cookie of the last shot of "The Great Train Robbery," with the cowboy firing his gun at the audience. That gave me an idea for a post-credits final image for "Charlie Wilson's War." As the film implies at the end, the aid to Afghanistan had an eventual blow-back, helping fuel the creation of our enemy Al-Qaeda. How about an Afghan fighter firing rockets at Russian planes, then turning his weapon on the camera and firing right at the audience. Rhys Southan, Richardson, Texas