Heaven Is for Real
Faith-based film tries reaching past its audience, but falls back on preaching to its own choir way too much.
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.
Some people daydream and some people don't.
Ancient Man sat in caves, safe from the wolves, and gnawed burnt meat. Hollywood Man sits in Truffles, eats smoked salmon, and discusses disaster movies. There is in both cases the delicious sensation of flirting, in exquisite comfort, with danger.
I met Dalton Trumbo only once, five years ago, but he made an impression I've not forgotten. The meeting was for lunch, long and leisurely, on the occasion of the opening of his film, "Johnny Got His Gun." Trumbo had directed the film at the age of 66, from a novel he wrote when he was 33. In the lifetime between those two ages he had been the highest-paid writer in Hollywood, had spent 10 months in prison and had won an Academy Award under a false name.
Michael Kutza's year began with a January trip to California to look at the American Film Institute's new stuff. Then he was off to Colombia to help judge the Cartagena film festival, new movies from Latin and South America. He was back in Chicago in March for board meetings of his Chicago International Film Festival.
Where is the piece, the editor wanted to know, about Thomas Tryon? I knew where it was, but I wasn't telling. It was in that dark and musty cupboard of my mind where I keep all those articles which (a) I hope never to write and (b) which would be mean and nasty if I ever did. When Ingmar Bergman was a bad little boy, his father would lock him in a closet and tell him there were things in there that would bite off his toes. My cupboard is the same.
"You're gonna think this is crazy," Cliff Robertson was saying, "but I think the Libertarian Party has the right idea. There ought to be a place on the ballot where you could vote for None of the Above. Then maybe in November the parties would have to go back and nominate somebody else . . ." He grinned wickedly at the notion. This was the other night at O'Rourke's, where he's settled into the corner of a booth after a flight from San Francisco. He was in town to talk about his new movie, "Obsession," but the conversation turned into a debriefing about the Democratic primaries. Here it was August and he was STILL for Mo Udall.
Milton Berle made his acting debut in 1914, at the age of 6, as the little newsboy in Charles Chaplin's "Tillie's Punctured Romance." Since then, he has been in vaudeville, radio and the movies and in 1948 became television's first big star.
In 1945, his sixth year in the Army, John D. MacDonald sent a short story home to his wife. She typed it up and submitted it to Story magazine, which bought it for $25. "1 thought that was pretty damned good," MacDonald recalls. "I figured, hell, if I could sell about four stories a week, I could live pretty well."
"I'd say 'Silent Movie' is my best film by far," Mel Brooks was saying, "and, let's face it, the others were pretty good. This is the funniest, the hardest to accomplish, the best. But we could not get the crew to laugh! There we were, knocking ourselves out to be funny, and behind the camera, not a snicker. This was a veteran crew. After 50 years of making sound movies, they were afraid if they made a noise it would spoil the shot. Fer chrissakes, fellas, I said, there's not even a microphone. Laugh a little! Yuk it up!"
Eugene O'Neill's wife thought "Hughie" was one of her husband's lesser plays, Jason Robards was saying. "She said he loved writing it and it came out easy. She was full of baloney. Oh, it may have came out easy, because he wrote it at the height of his powers. But it's one hell of a play."