"Transcendence" is a serious science fiction movie filled with big ideas and powerful images, but it never quite coheres, and the end is a copout.
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.
At Christmas time last year, as he has every year since her death, Russ Meyer went to visit his mother's grave. On trips around the country, he often visits the gravesides of old Army buddies, and those who are still living can count on a ticket from him if they can't afford the fare to the Signal Corps reunion he hosts every year.
The Chicago International Film Festival turns 21 in 1985, and as its birthday approaches, these are some memories from its long coming-of-age:
TORONTO, Canada - There is a time when a film festival looks just like a convention of hardware dealers, and that time is at 2 in the morning in the hotel hospitality suite when everyone has collapsed exhausted onto the couches and started to contemplate the possibility of dawn. Into the gloom that was enveloping him, the film director Paul Schrader poured a glass of Canadian whiskey. He was scheduled to have breakfast with me at 8:30 a.m., but now he thought it over and said it might be better if we just went ahead and talked now, because he doubted that he would make any sense in the morning.
TELLURIDE, Colo. - "It was one of the greatest records I had ever heard," Terry Zwigoff remembered. "I knew I had to find out who had made it, and whether they were still alive."
Los Angeles -- In January of 1975, I received a postcard from Charles Napier:
Cannes, France – This year’s winner of the Sun-Times’ Sex Symbol of the Year competition at the Cannes Film Festival is Miss Carla Dunlap, who gets bitchy when she doesn’t pump iron. She was the winner of the 1983 U.S. Female Body Building Championships, majored in advertising design in college, and was once Rupert Murdoch’s paper carrier.
Cannes, France – “How's the Cannes Film Festival? I'll tell you one thing, pal. It's a whole lot better than a kick in the ass. I got my ticket paid for, I'm staying in a first-class hotel, I'm wearing expensive boa-constrictor cowboy boots, and I'm not drinking and I'm not taking drugs. How could life be better?”
Los Angeles, California -- Early on the morning of the day that he would win the Academy Award, Dr. Haing S. Ngor found himself in the middle of the annual Oscar media circus. He was sitting in a director’s chair outside the Dorothy Chandler Pavilion, sipping tea under a gloomy sky, trying to ignore the fans in the nearby bleachers, who were chanting his name. He had already been in terviewed for TV stations in Boston and New York, and now he was going to do the “A.M. Los Angeles” program before being followed around all day by a crew from “Good Morning, America.”
Jersey City, NJ – “This guy came and rang the bell, and said his name and that he was from MGM,” Mrs. Delores Brady was explaining. She stood in the center of her kitchen floor, and you got the impression she had played this scene before.
NEW YORK -- On the Sunday after his new movie, “The Purple Rose of Cairo,” opened to the best reviews of his career, Woody Allen moved aside his computerized Chess Challenger and curled up in the corner of a couch. We were in the screening room of the Manhattan Film Center, which is reached through the lobby of the Beekman Place Hotel, and is perhaps the only editing facility in New York with room service.