At one point, I checked the time code on Netflix and saw that the movie had over forty minutes to go. I visibly winced.
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!
Our Far-Flung Correspondents are cinephiles from all over the world, hand-picked by Roger Ebert to write about movies from their unique international perspectives. They include contributors from (alphabetically) Brazil, Canada, Egypt, Great Britain, India, Mexico, the Philippines, South Korea, Turkey and the U.S. They converge every year at Ebertfest.
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.
Why African-American poverty is not just another class issue; 5 myths about privacy; Samantha Power, journalist-diplomat; pot-grower to the stars; Lynda Obst on why Hollywood is "completely broken"; Google launches "Internet balloons" to ensure web access everywhere.
You've been told that Superman not a "relatable" character. After all, he's faster than a speeding bullet, more powerful than a locomotive, and all that jazz. How is a disgruntled, debt-ridden, under-employed 21st century audience supposed to identify with a character who's basically a God? That's the wrong question to ask, argues Sean Burns.
If we said there was a clear throughline from "Bonnie and Clyde" and Richard Donner's "Superman: The Movie," you'd say we were crazy, right? Get ready to eat your words as we prove once again that showbiz works in mysterious ways.
Sofia Coppola's privilege problem; why "Happy Birthday to You" isn't in the public domain; surveillance in America, and in the movies; five dictators who despise social media.
Superman always seems to need to be revamped, revived, and recycled. He is, to use comics critic Tom Crippen's keen phrase, the mainstream comics' industry's "hood ornament." In this extensively annotated list, Simon Abrams picks the 10 most influential and astonishing visions of the Man of Steel.
Why showrunners matter on TV much less than you think; BBC's Sherlock by the numbers; Vulture's Summer TV issue; in praise of Don't Trust the B----- in Apartment 23; M. Night Shyamalan wrote what?; DNA can't be patented; robots can fight.
What are we to make of Owen Wilson, he with the tow-colored mop of hair, the crooked nose, and the smile that seems to need so much in return? In certain contexts, Owen Wilson's smile is heartbreaking. Not just in more serious roles, but in everything. One does not often think of grown men as being "wistful" or full of "pathos"; only little plucky orphans in pig-tails and pinafores should be "wistful."
Cybill Shepherd recalls working on Peter Bogdanovich's "At Long Last Love" and the critical drubbing she in particular took in the press.
Lateral tracking shots can get to the heart of a film more quickly and succinctly than any other technique. What are your favorites?
Troll the NSA; clashes continue in Turkey; the "familiar profile" of the Santa Monica killer; wash your hands!; actresses in Hollywood are having a worse/better time of it; Lego faces getting angrier; great tracking shots.