Dwayne Johnson tries, but he’s surrounded by poor CGI and a terrible adaptation of yet another comic book. Ian McShane steals what little movie there…
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.
"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.
PARK CITY, Utah -- The kid made a deal!
PARK CITY, Utah How long has it been since I saw a film that was really scary, instead of just going through the motions of scary? Most horror films are merely exercises in ritualized surprise, but a low-budget film titled "The Blair Witch Project" shook up Sundance Film Festival audiences with its gathering sense of menace.
PARK CITY, Utah Of course I've seen all the wrong films so far at the Sundance Film Festival, according to the touts who whisper in my ear before screenings. It is always this way. You think you're seeing wonderful films, and everybody assures you that you've missed the masterpieces and are hopelessly out of the loop.
PARK CITY, Utah -- So this kid accosts me last Thursday night while I'm standing in the lobby before the Robert Altman film.
PARK CITY, Utah -- You have to go to something like Robert Redford's annual "filmmakers' brunch" to sense the level of ambition, hope and need at the Sundance Film Festival. You understand that the festival is a showcase for independent filmmakers. You know that a lot of them are here with their first or second movies and a game plan to make a sale, find distribution, win awards and generate buzz.
PARK CITY, Utah -- At most film festivals, 90 percent of the audience members are civilians and 10 percent are employed in the industry. At Sundance, the ratio is reversed. Screenings here consist of pitches, bids, dealmaking, business card exchanging and schmoozing, interrupted by movies.
PARK CITY, Utah The future of the American film industry begins its annual convention here today, at the Sundance Film Festival. For the next 10 days, new independent films and documentaries will unspool all over town, in every possible performance space: Wherever two or three gather together, they're probably looking at a movie.
LOS ANGELES--I was thinking back to a day at the 1994 Cannes Film Festival, when I had lunch with John Travolta after the screening of "Pulp Fiction." It was clear that the movie represented the rebirth of his career, and he wryly observed that, after all, his career seemed to consist of one comeback after another.
It started like this. We were talking about her new film "Down in the Delta," where Alfre Woodard plays a hard-drinking woman from the Chicago projects who gets a fresh start on her uncle's farm in the Mississippi Delta. It is a good film, strong and touching, the directorial debut of the writer Maya Angelou. It opens Christmas Day. I said to Woodard, "You've never really made yourself available for exploitation, have you?"
LOS ANGELES Bill Paxton has an Oscar contender and a giant gorilla movie coming out within a couple of weeks of each other, and that's the story of his career. He makes little movies ("One False Move," "Traveller," "Trespass") and big ones ("True Lies," "Apollo 13," "Twister"). In the big ones, he is a stalwart leading man - like his hero, the fellow Texan Ben Johnson, whose every word sounded like the simple truth. In the little ones, Paxton plays regular guys who get twisted into strange traps of crime and guilt.