Make Your Move
With camerawork and editing that allows us to truly enjoy the footwork of its stars, "Make Your Move" is a vibrant, fun dance movie.
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.
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.
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.
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.
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.
A collection of tributes to Roger from various sources.
"The raid was so successful," John Dahl was saying, "that at the movie's first test screenings, audiences wouldn't believe it. We had to add titles at the end telling them it was a true story."
He always wanted to work with Bill Murray, Jim Jarmusch said. "He's got a big-brush style where he's a comic genius. But he can also paint with a one-haired brush." That was the Murray that Jarmusch wanted, the one he had seen in "The Razor's Edge," "Mad Dog and Glory," "Ed Wood," "Rushmore" and "Lost in Translation." So it should have been simple. Jarmusch worked on a screenplay for four or five months, went to Cannes in 2002 to raise the money for it, and came home with most of the financing in place.
Mark Zupan went home to Austin, Texas, for 14 hours on Saturday, to attend a buddy's wedding. That was his third weekend at home since April. The star of the documentary "Murderball" has been caught in such a whirlwind of overnight stardom that the latest news -- Eminem wants to play him in a fictional version of the story -- is just one more news item.
When I interviewed Joan Allen and Sally Potter about their new film "Yes," I assumed everyone who saw it would love it as I do. I was mistaken. Although it has many supporters, it has opened to some savage reviews ("Ideas of almost staggering banality" -- A.O. Scott, New York Times).
"And here's to you, Mrs. Robinson / Jesus loves you more than you will know."
“The White Countess” (2005) (producer)
CANNES, France -- Suddenly calm has descended on Cannes, like a movie without sound. The traffic has returned to sanity. Housewives stroll through the market, filling their wicker baskets with artichokes and lettuces. The awards will be announced tonight, but most of the buyers and sellers and big shots have already flown out of the Nice Airport, and the festival is left in the custody of its most faithful guests: The press, the cineastes, the paparazzi and the fans.
CANNES, France -- Emir Kusturica, the jolly Serbian who headed this year's Cannes jury, stayed up late Saturday night at the beach party after the awards. He loved the fireworks, the Fellini music, and his new green shirt. He also sang with the band, as Salma Hayek and Penelope Cruz danced "very savagely," he said, with, of all people, the festival president, Thierry Fremont. "Many girls told me they loved the green shirt," he said Sunday afternoon, as he joined the eight other jury members in their annual press conference.
CANNES, France — Tommy Lee Jones walked away from the 58th Cannes Film Festival here Saturday night as a double winner, after his film “The Three Burials of Melquiades Estrada” won him the award as best actor, and the screenplay by Guillermo Arriaga also was honored. The movie stars Jones as a Texas cowboy who kidnaps the border patrolman (Barry Pepper) who has murdered his Mexican friend and forces him on a long journey to rebury the corpse in the man's hometown.
Roger Ebert has covered the Cannes Film Festival since 1972 -- and, in recent years, his digital camera has come along for the wild ride. See Ebert's take on some of the biggest stars and brightest names in international cinema in these photo galleries. Bill Murray, Morgan Freeman, Sarah Polley, Sam Shepard, Wim Wenders, Woody Allen, Scarlett Johansson, George Lucas, Kevin Bacon -- they're all here, and more, together and separately in these Ebert's-eye-view photos.