Mission: Impossible - Rogue Nation
Tom Cruise is the best.
The place for everything that doesn't have a home elsewhere on RogerEbert.com, this is a collection of thoughts, ideas, snippets, and other fun things that Roger and others posted over the years.
More moviegoers see films on video in some form than ever before -- whether streaming on demand, cable or satellite, instant download services, DVD or Blu-ray. Even high-profile pictures become available to home viewers before or at the same time as their theatrical release. Reviewing them is a job for... The Demanders!
Since he started as film critic for the Chicago Sun-Times in 1967, and began covering movies locally and at international film festivals, Roger Ebert has met and interviewed countless movie idols, artists and unknowns -- some of them even before they became famous. There's hardly a major figure in the history of movies, from the last part of the 20th century into the 21st, that he hasn't encountered.
Roger Ebert has attended international film festivals and events for almost half a century, from the Kolkata International Film Festival to the Academy Awards. In addition to his coverage, our contributors report the latest from Cannes, Telluride, Toronto, Sundance and other movie showcases world-wide.
"Life Itself," based on Roger Ebert's memoir and directed by Steve James, will open in theaters and be available On Demand on July 4, 2014.
The Cannes International Film Festival is the most talked-about film festival of the year, where directors from around the world showcase their newest work, from the most challenging art cinema to the big blockbusters. For many years, Roger Ebert and a team of contributors have covered Cannes, and we are continuing that tradition with start-to-finish coverage from around the festival.
A collection of tributes to Roger from various sources.
The opening shot of a movie can tell us a lot about how to view and interpret what follows. It can even represent the whole movie in miniature. The Opening Shots Project collects illustrated analyses of some of Jim Emerson's favorites, and contributions from Scanners readers.
"With Great Power: The Stan Lee Story" is available on-demand at Netflix.com, Amazon.com, iTunes, EpixHD.com and Vudu.com. Stan Lee will be attending a special screening of "With Great Power" at the Stan Lee Comikaze Expo in Los Angeles on September 15, 2012.
By Jana Spider-Woman Hulk Daredevil Wonder Woman Beast Monji
The title, "With Great Power: The Stan Lee Story," is a tip off, but if the only Uncle Ben you know is a nattily dressed black gentleman who sells conveniently packaged rice, then Stan Lee wants to invite you to his Marvel universe. This is the world where Uncle Ben adopted his orphaned nephew who would be bitten by a radioactive spider in high school. That sullen, selfish teen would soon find that the bite of karma can be transformational and he becomes a super hero with an attitude: Spider-Man.
"About Cherry" (102 minutes) is available now on demand at IFC, iTunes, Amazon Instant and SundanceNow. Opens theatrically September 21, 2012 in New York.
After reading the synopsis for "About Cherry," I figured I had it pegged. Here's a movie about a fresh-faced, clean-cut American girl named Angelina who goes the photographic Full Monty before graduating to porn. "Oh brother," I thought. "Another cautionary tale." In American cinema, you just can't enjoy sex. There has to be some consequence for all the ejaculations of "oh god!" and "yes I said yes I will Yes." If you're a man, you tend to get off scot free. But a woman who enjoys the same activity might as well be struck by lightning onscreen. So I expected poor Angelina to run afoul of drugs, sexual abuse and possibly fatal violence. The press materials seemed to support my supposition: "But Angelina's newfound ideal lifestyle soon comes apart at the seams," it ominously states. I braced myself for the worst.
Eighteen-year old Angelina (Ashley Hinshaw) lives in Southern California with her younger sister (Maya Raines), her alcoholic mother (Lili Taylor) and Mama's latest man. Angelina yearns to escape her dismal home life, so with a little coaxing from her rock band boyfriend (Johnny Weston), she visits his photographer buddy Vaughn (Ernest Waddell). Vaughn shoots erotic photos, and Angelina is both erotic and photogenic. The photo shoot is such a rousing success that Weston demands Angelina avoid Vaughn for future shoots. Angelina dumps the rocker.
The YouTube poster, "dondrapersayswhat," says this: "Clips from 295 movies used to recreate Sir Mix-A-Lot's Baby Got Back, because I'm just that much of a nerd. Click the closed captioning button for movie titles."
August 15 marks the 20th anniversary of the debut of "The Larry Sanders Show," episodes of which are available on Netflix Instant, Amazon Instant, iTunes, and DVD. This is the first part of Edward Copeland's extensive tribute to the show, including interviews with many of those involved in creating one of the best-loved comedies in television history.
by Edward Copeland
Over the course of my lifetime, I've watched a lot of movies -- an old computer contained a program with an editable database of titles and allowed for the addition of new films. Back when I used that PC, my total hovered in the thousands. "The Larry Sanders Show" produced a mere 89 episodes in its six season run from 1992-1998 that began 20 years ago tonight on HBO. "I know it sounds cliché but -- honest to God -- it seems like it was just about a week ago. It's so odd that it's 20 years," Jeffrey Tambor said in a telephone interview.
Despite the vast disparity between the quantity of films I've viewed and "Larry Sanders" episodes, when I recently took part in The House Next Door's "If I Had a Sight & Sound Film Ballot" series, I found it far easier to prune those pictures down to my ten favorites than I did when I applied the same task to "Larry Sanders" episodes. (Picking a clip or two from each show proved even more difficult as inevitably I'd want to include the entire half-hour.) Three or four episodes I knew had to be on the list, but then it got tough. I considered making a list of the best episode for each character such as the best Brian episode ("Putting the 'Gay' Back in Litigation"), the best Beverly ("Would You Do Me a Favor?"), the best Phil ("Headwriter"), etc. With all the priceless episodes centering on Hank and Artie, I imagined those two characters conceivably filling all ten spots alone.
A series that broke as much ground as "The Larry Sanders Show" deserves a grander tribute to mark the two decades since its birth than just a recounting of a handful of episodes -- and I had that intention. Unfortunately, my physical limitations and time constraints thwarted my ambitions. Rest assured though, that salute shall be forthcoming (MESSAGE TO BOB ODENKIRK: YOU STILL CAN TAKE PART NOW). As with any list, I'm certain my fellow "Larry Sanders" fans shall express outrage at my omissions (I already hear the shouts of "Where is the one with Carol Burnett and the spiders?" "No 'Hank's Sex Tape!' Hey now!"). Believe me, I'm as livid as you are and may join in the comments to give myself the thorough tongue-lashing I so richly deserve for these unforgivable exclusions. First, though, I'm going to fix myself a Salty Dog, using Artie's recipe of course. I want to be able to grab those olives, not fish for them. So, for good or ill, I submit my selections for my ten favorite episodes of "The Larry Sanders Show." Since bestowing ranks only leads to more trouble, I present these ten in chronological order:
Use the search box below to search RogerEbert.com for film festival coverage from past years: Cannes, Sundance, Telluride, Toronto and others. More recent festival coverage (since 2007) can be found by searching the blogs: Roger Ebert's Journal and Barbara Scharres at Cannes.
In Takashi Miike's "Hara-Kiri: Death of a Samurai," power and tradition crush good people, just as they did in Masaki Kobayashi's 1962 version. Both films are expressions of social rebellion, but where Kobayashi's conveyed a spirit of righteous vengeance that anticipated the course of its revolutionary decade, Miike's is more plaintive and despairing. There are struggles, but nobody wins, ever. Weak and cowardly people who happen to be tending the levers of power simply carry out meaningless rituals that destroy lives.
As in the '62 film, through flashbacks we get a good, long look at the lives an inflexible Samurai code has destroyed. With the elegance and shyness of an Ozu domestic drama, Miike renders a family formed under bittersweet circumstances: A poor Samurai dies, leaving his son in the care of his old war buddy, a fellow widower with a daughter of his own. Raising these children in early 15th Century peacetime means drawing from meager earnings as an umbrella maker rather than as a soldier of fortune. Hanshiro Tsugumo (Ebizo Ichikawa) might have been tough on the battlefield, but he imparts a gentle nature, not a warrior's stoicism, to the boy, Motome Chiziiwa (Eita). Motome becomes a schoolteacher and, inevitably, marries Hanshiro's daughter Miho (played as an adult by Hikari Mitsushima, the radiant star of Sion Sono's Miike-like masterpiece, "Love Exposure"). He fulfills both obligations with his father's patient, nurturing ways.
"War of the Arrows" is currently available on Netflix Instant, Vudu, iTunes and Blu-ray/DVD.
By Jana J. Monji
A sudden crush of movies is bringing the sport of archery back into the limelight, and the timing couldn't be better for the 2011 costume drama "War of the Arrows" from South Korea. This is like a Western movie damsel in distress scenario transported to 17th century Korea with archery instead of gun sharpshooting. The good guys don't wear white hats, but you'll easily be able to tell the good guys from the bad guys in this morality tale.
European tradition has William Tell and Robin Hood to tantalize young boys into archery. In America, if children still play cowboys and injuns, then one supposes that the Native Americans still use bows, but that's usually just the braves according to old stereotypes that places the squaws in the wigwams. More recently, we've had "The Avengers" with Clinton Barton's Hawkeye.
For girls, "The Hunger Games" have given us an alternative reality with arrow-slinging Katniss who like Annie Oakley learned to shoot in order to feed her family. Disney's newest princess, Merida in "Brave," performs archery on horseback. Has there ever been a better time for archery?
San Diego Comic-Con International is a celebration of cartoons, costumes and fictional and real characters. Recent years have brought increasing commercialization. Many of the panels are little more than tantalizing propaganda for upcoming TV programs and movies and the panels bare their wares as brazenly as the whores who used to walk the Gaslamp District before it became a hip place to be. But SDCC is also a venue for introducing and releasing movies that have a link to geek culture and SDCC hosts a Comic-Con International Independent Film Festival.
"Stella Days" (87 minutes) available via iTunes, VuDu, Amazon Instant Video and most other VOD providers (check your local listings). It is also playing in limited theatrical release.
by Jeff Shannon
It seems somehow belittling to pigeon-hole the ever-so-Irish "Stella Days" as a comedy/drama or (saints forgive us!) as that dubious hybrid known as "dramedy." It is, more accurately, a heartfelt, thematically ambitious exploration of fragile faith confronted by rigid dogma, and its dramatic substance is leavened by the kind of wry, tenacious good humor that has defined the Irish character for centuries.
That low-key humor prevails throughout the film but is most evident in the opening scenes, as when Father Daniel Barry (Martin Sheen) arrives at the bedside of an old, dying woman on the outskirts of Borrisokane, the tiny town in North Tipperary that is home to Barry's parish. He's there to deliver last rites (not for the first time), but the old lady's as tenacious as a potato in barren Irish soil, and all she wants is to hear Father Barry's mellifluous Latin prayer so she can sleep peacefully and live to see another day.
"The last rites are not medicine," he tells her with fond familiarity, knowing he'll eventually return to deliver last rites for real. "Doctor Brady's your man for that."
"Oh, he could never cure me," says Peggy. "I don't know what I'll do when you go back to Rome."
There lies the rub: Father Barry doesn't know it yet, but he won't be returning to his post at the Vatican any time soon. He's a Catholic scholar, an intellectual desperately eager to finish his thesis on St. John at the Cross. He's far less rigid in his thinking than his uptight superiors, most notably Bishop Hegarty (Tom Hickey), a stern traditionalist who finds it necessary to remind Father Barry that "being an Irish parish priest is not a penance."
"Guilty Pleasures" (60 min.) premieres on the PBS series P. O.V. on Thursday, July 12 (check your local listings). The DVD is available for pre-order on the PBS website. It will stream on the POV's website July 13-Aug. 12.
by Donald Liebenson
"Guilty Pleasures." A documentary. About romance novels. She didn't watch documentaries. She didn't read romance novels. When she agreed to join him for what he called "movie night" ("I'll show you something you've never seen," he had said lasciviously), this is not what she signed up for. Her inner goddess yearned for a shirtless Ryan Gosling.
"Here," she offered, unsnapping "Crazy Stupid Love" from its DVD case. Suddenly, like a coiled snake, he lunged, grabbed the disc from her trembling hand and flung it against the wall, sending it spinning, spinning.