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.
It's finally happened. I went to interview a star, and she was eating caviar and drinking champagne. To be sure, Carol Lynley was wearing a kiddie sweater instead of a mink negligee, but what the hell. They probably don't even make mink negligees anymore.
In the movies he plays the natural man, uninhibited and carefree. When we hear his name, we think first of his performance as Zorba the Greek, arms outstretched, leading that dance of life on the beach. And so it is a little unsettling at this late date to find out that Anthony Quinn has been beset by doubts and devils, and was just as screwed-up as the rest of us.
During the earlier days of the Venice Film Festival, the face of Frank Perry had worn a slightly distracted look. He was there, he was listening, he was talking, but somehow his mind seemed to be on a slightly different frequency than anybody else's. This is a common state and not unique with Perry; all movie directors have it as the day for the first public showing of their newest movie grows near.
Marjoe Gortner is not listed in the Guinness Book of World Records as having been the world's youngest preacher, but he should be. Marjoe performed his first marriage at the age of 4 and even Jesus didn't come out until he was 12.
For Gordon Parks, the first black director in the history of the Hollywood film, it all began more than 30 years ago when he was an assistant bartender on the North Coast Limited between Chicago and Seattle.
"You know what this black woman told me today?" Yaphet Kotto said. "She said my movie was the first time in the movies she ever saw a black man take a black woman out on a date. Dinner, romantic music, the whole thing."
She tried to make a good wife for the football coach. She really tried. She went to all the games, even the out-of-town games, and she organized the girls into a cheering section.
A producer of horror films doesn't actually need fangs and little points on his ears, but it would help. He doesn't need to quaff blood at every meal, but...cole slaw? Dishes and dishes of cole slaw? This is a horror movie producer?
I. Tuesday afternoon at Le Bistro, a restaurant in Beverly HillsBEVERLY HILLS, 1972 -- Groucho Marx was wearing blue jeans, Hush Puppies, a brown sport shirt buttoned at the neck, an ancient tweed sport jacket, a cap and a pepper and salt overcoat. He peered into the gloom of Le Bistro, seeking out familiar faces, while a young lady introduced herself to me. “My name is Erin Fleming. I'm Mr. Marx's secretary."
It was a night in New York to hover over a bottle of burgundy, one's elbows on the table and talk of human love, of myth, of decency...and incest. They had not all seemed to belong in the same sentence before tonight, but now - well, "Murmur of the Heart" is not an ordinary film. Hardly.