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The Congress

"The Congress" is a roll call of the orgiastic pleasures and bountiful comforts that art provides, and, a reminder of what waits for us when…

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As Above, So Below

It's that rare found-footage film with a strong premise, a memorably eccentric style, and plenty of energy to burn. It's also poorly conceived, and hard…

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Ballad of Narayama

"The Ballad of Narayama" is a Japanese film of great beauty and elegant artifice, telling a story of startling cruelty. What a space it opens…

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Monsieur Hire

Patrice Leconte's "Monsieur Hire" is a tragedy about loneliness and erotomania, told about two solitary people who have nothing else in common. It involves a…

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Interview with Elizabeth Taylor & Richard Burton

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LONDON - Richard Burton said, "It's that long hair, that's what it is." He stroked the hair back from the face of Lisa Todd, Elizabeth's daughter, and looked into the girl's eyes. "It's that long hair getting into your eyes." He shook his head, pretending great solemnity. "We'll have to operate," he said. "The left eye definitely has something in it. We'll operate at...ah, four this afternoon, I think. Very serious." Lisa laughed and shook her hair back into her eyes. Burton took her by the hand and led her into his dressing room. "Gonzales is playing again this afternoon at Wimbledon," he said. "Did you see yesterday's match? It was rather better than 'Hamlet' - the old man against the young man."

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Haskell Wexler: "See, nothing is 'real.'"

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NEW YORK -- At 47, Haskell Wexler was one of the nation's most successful cameramen. He'd won an Academy Award in 1966 for his work on Mike Nichols' "Who's Afraid of Virginia Woolf?" He had been the cinematographer on films by Elia Kazan ("America, America"), Joseph Strick ("The Savage Eye"), Tony Richardson ("The Loved One") and Norman Jewison ("In the Heat of the Night," "The Thomas Crown Affair"). But he wanted to direct his own movie. And last summer he came to Chicago to do that. The result is "Medium Cool," a movie unlike anything you have seen and possibly unlike anything you want to see. It is likely to be this autumn's most controversial film.

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Interview with Irene Papas

LONDON - There's a photograph of Irene Papas in the files of The Sun-Times, taken when she arrived in Hollywood in the 1950s. It's a typical publicity picture, sort of modified cheesecake; she's sitting on a trunk with her legs crossed and the handout says something about a Greek starlet arriving to star in the new Cagney picture.

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Interview with John Wayne (1969)

NEWPORT BEACH, CA. -- "I've been working all day on the boy's room," John Wayne said. "The boy got it into his head that he wanted a bunk bed. We tore out this wall here and pushed it back - you can see the original boundary on the floor there - and we're going to put the bunk right in here. And there'll be a goddam porthole in the wall." He shook his head, amused.

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Sam Peckinpah: "Dying is not fun and games."

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FREEPORT, Grand Bahama Island -- Sam Peckinpah's "The Wild Bunch," which is possibly the most violent film ever made, stirred up a bitter controversy here. Film critics splint into many camps at an extraordinary press conference, and even co-stars William Holden and Ernest Borgnine seemed slightly squeamish about the movie. But just about everyone agreed that "The Wild Bunch" will be this summer's top box-office draw, for better or worse.

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Interview with Robert Redford

Out on the Colorado locations for "Downhill Racer," Robert Redford was limping and wincing occasionally when his foot landed the wrong way. He had injured his knee in a snowmobile accident. It was bad enough to have your knee banged up, but when you were making a movie about skiers, and doing a lot of the skiing yourself, it was murder.

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Interview with Kirk Douglas

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LOS ANGELES -- This was a restless man. He rocked on the balls of his feet. He looked, turned, looked back to where he'd turned from. Demons were gaining. He peered out the window. Opened the door. Closed the door. Peered out the window. Evoked a pastoral image.

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