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Reviews

Ricky Stanicky (2024)
The Iron Claw (2023)
Firestarter (2022)
Gold (2022)
Scoob! (2020)
The Beach Bum (2019)
The Greatest Showman (2017)
Baywatch (2017)
Dirty Grandpa (2016)
Neighbors (2014)
That Awkward Moment (2014)
Parkland (2013)
The Paperboy (2012)
At Any Price (2012)
Liberal Arts (2012)
The Lucky One (2012)
New Year's Eve (2011)
17 Again (2009)
Hairspray (2007)

Blog Posts

Ebert Club

#269 January 24, 2016

Sheila writes: Many of you have probably already heard the exciting news that Guillermo Del Toro's stunning "Crimson Peak" has been chosen as the opening film of this year's Ebertfest (from April 13th, through Sunday, April 17th), with Del Toro attending as the honorary guest. Seeing "Crimson Peak", in all its visual splendor, on the gigantic screen at the Virginia Theater in Champaign, Illinois, will be thrilling. You can read more information here (with links to purchase Ebertfest passes). The other films that will play at Ebertfest have not been announced yet, but stay tuned!

Ebert Club

#152 January 23, 2013

Marie writes: Behold the entryway to the Institut Océanographique in Paris; and what might just be the most awesome sculpture to adorn an archway in the history of sculptures and archways. Photo @ pinterest

(click to enlarge.)

Ebert Club

#136 October 3, 2012

Marie writes: It's that time of year again!  Behold the shortlisted nominees for The Turner Prize: 2012.  Below, Turner Prize nominee Spartacus Chetwynd performs 'Odd Man Out 2011' at Tate Britain on October 1, 2012 in London, England.

(click image to enlarge.)

Roger Ebert

Toronto #2: Victory at any price?

Ramin Bahrani, the best new American director of recent years, has until now focused on outsiders in this country: A pushcart operator from Pakistan, a Hispanic street orphan in New York, a cab driver from Senegal working in Winston-Salem. NC. His much-awaited new film, "At Any Price," is set in the Iowa heartland and is about two American icons: A family farmer and a race car driver. It plays Sunday and Monday in the Toronto Film Festival.

Ebert Club

#127 August 8, 2012

Marie writes: This week's Newsletter arrives a day early and lighter than usual, as come Tuesday morning, I'll be on a Ferry heading to Pender Island off the West Coast, where I've arranged to visit old friends for a few days and enjoy my first vacation in two years; albeit a brief one. No rest for the wicked. :-)

Festivals & Awards

Raunchy comedy, brutal sex, bloody violence

Big stars were out to shine this morning in Cannes, when "The Paperboy" by Lee Daniels premiered in competition, with a cast that includes Matthew McConaughey, Zac Efron, Nicole Kidman, David Oyelowo, John Cusack, and Grammy Award-winning R&B singer Macy Gray. Daniels had a massive hit with his previous film "Precious," which premiered here in 2009 and went on to earn six Oscar nominations with two wins, and countless other awards worldwide.

A director with that kind of success in his recent past has got to have a lot of hopes and fears riding on his next film. Daniels certainly had star power in his corner on "The Paperboy," but the film got a mixed reaction this morning in the Palais, and I'm not sure it's headed for a repeat of the acclaim that "Precious" experienced.

"The Paperboy" is adapted by Pete Dexter and Daniels from Dexter's novel of the same title. The film reportedly takes a few deviations from the source novel (which I haven't read) to result in pretty much a whole new story. There are many shifts of tone, making the film simultaneously a comedy, a mystery/thriller, and a Southern gothic potboiler. It's amusing and frustrating; hilarious and tense; awkward in its construction yet featuring bursts of gripping acting.

Chaz at Cannes

A letter from Chaz

• 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.

Ebert Club

#102 February 15, 2012

Marie writes: my art pal Siri Arnet sent me following - and holy cow! "Japanese artist Takanori Aiba has taken bonsai trees, food packaging, and even a tiny statue of the Michelin Man and constructed miniature metropolises around these objects, thus creating real-life Bottled Cities of Kandor. Explains Aiba of his artwork:"My source of creations are my early experience of bonsai making and maze illustration. These works make use of an aerial perspective, which like the diagram for a maze shows the whole from above (the macro view) while including minute details (the micro view). If you explore any small part of my works, you find amazing stories and some unique characters." ( click to enlarge.)

Ebert Club

#93 December 14, 2012

Marie writes: If you're like me, you enjoy the convenience of email while lamenting the lost romance of ink and pen on paper. For while it's possible to attach a drawing, it's not the same thing as receiving hand-drawn artwork in the mail. Especially when it's from Edward Gorey..."Edward Gorey and Peter Neumeyer met in the summer of 1968. Gorey had been contracted by Addison-Wesley to illustrate "Donald and the...", a children's story written by Neumeyer. On their first encounter, Neumeyer managed to dislocate Gorey's shoulder when he grabbed his arm to keep him from falling into the ocean. In a hospital waiting room, they pored over Gorey's drawings for the first time together, and Gorey infused the situation with much hilarity. This was the beginning of an invigorating friendship, fueled by a wealth of letters and postcards that sped between the two men through the fall of 1969."

Ebert Club

#87 November 2, 2011

Marie writes: It occurred to me that I've never actually told members about the Old Vic Tunnels.  Instead, I've shared news of various exhibits held inside them, like the recent Minotaur. So I'm going to fix that and take you on a tour!  (click image to enlarge.)

Ebert Club

#83 October 5, 2011

Marie writes: I love photography, especially B/W and for often finding color a distraction. Take away the color and suddenly, there's so much more to see; the subtext able to rise now and sit closer to the surface - or so it seems to me. The following photograph is included in a gallery of nine images (color and B/W) under Photography: Celebrity Portraits at the Guardian."This is one of the last photographs of Orson before he died. He loved my ­camera - a gigantic Deardorff - and decided he had to direct me and tell me where to put the light. So even in his last days, he was performing his directorial role perfectly, and ­bossing me around. Which was precious." - Michael O'Neill

Orson Welles, by Michael O'Neill, 1985