The kind of movie that lingers on in your head, just like the best fairy tales do.
Roger Ebert became film critic of the Chicago Sun-Times in 1967. He is the only film critic with a star on Hollywood Boulevard Walk of Fame and was named honorary life member of the Directors' Guild of America. He won the Lifetime Achievement Award of the Screenwriters' Guild, and honorary degrees from the American Film Institute and the University of Colorado at Boulder. Since 1989 he has hosted Ebertfest, a film festival at the Virginia Theater in Champaign-Urbana. From 1975 until 2006 he, Gene Siskel and Richard Roeper co-hosted a weekly movie review program on national TV. He was Lecturer on Film for the University of Chicago extension program from 1970 until 2006, and recorded shot-by-shot commentaries for the DVDs of "Citizen Kane," "Casablanca," "Floating Weeds" and "Dark City," and has written over 20 books.
Q. You said the final image of "The Assassination of Jessie James" was a Credit Cookie of the last shot of "The Great Train Robbery," with the cowboy firing his gun at the audience. That gave me an idea for a post-credits final image for "Charlie Wilson's War." As the film implies at the end, the aid to Afghanistan had an eventual blow-back, helping fuel the creation of our enemy Al-Qaeda. How about an Afghan fighter firing rockets at Russian planes, then turning his weapon on the camera and firing right at the audience. Rhys Southan, Richardson, Texas
Q. There are several reports about extreme reactions of early cinema audiences that I find hard to believe. It is said that viewers of the first movies were frightened by what they saw, such as moving images of an incoming train.
by Roger Ebert
Q. I am a devoted fan of Ian McEwan’s novel "Atonement," one of those books that raises your heartbeat and ignites conflicting emotions and thoughts like fireworks exploding in the sky. So many nights I returned to that book to amuse myself for several hours by just repeating the poetry of McEwan’s prose, its words melting over my tongue like butter.
Q: The box-office returns for "The Golden Compass" last weekend were modest at best. The film is estimated to have cost more than $150 million and will have a hard time making its money back. The financial disappointment could be catastrophic for New Line Cinema. Not to mention the fact that any chance of an adaptation of The Subtle Knife and The Amber Spyglass (rest of the trilogy) are now slim to nil. Since you gave the film a positive review, what is your opinion of the box-office returns?
From Jonathan D'Ambrosio, Fairfield, CT:
From Adam Peabody, Burbank, CA:
From Joseph Brunetta, Santa Rosa, CA:
by Roger Ebert
From From Rubin Safaya, Dallas, TX: