Star Trek Into Darkness
Less a classic "Star Trek" adventure than a Star Trek-flavored action flick, shot in the frenzied, handheld, cut-cut-cut style that’s become Hollywood’s norm, director J.J.…
Less a classic "Star Trek" adventure than a Star Trek-flavored action flick, shot in the frenzied, handheld, cut-cut-cut style that’s become Hollywood’s norm, director J.J.…
Families create their own narratives. Stories are passed on from generation to generation, and in this way the past continues to live, but it can…
"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…
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…
Billy Wilder's under-appreciated 1978 "Fedora" returns to Cannes to remind us that some things, like the fear of aging among celebrities, never change.
While Cannes's red-carpet crowd toasts the Coen brothers' tuneful "Inside Llewyn Davis," the parallel programs have also turned a spotlight on America.
Roger was a titan in the film community, but he was also a beacon for the seriously disabled.
Mother’s Day I awakened to spirited calls from my children and grandchildren. As Roger wrote in his memoir, “Life Itself,” I came from a large family of nine, and I had four brothers and four…
Roger was a titan in the film community, but he was also a beacon for the seriously disabled.
Ray Harryhausen told us, time and again, the story of how he saw the original "King Kong" (1933) on the big screen when he was…
Dear Roger,You emailed me the questions to this interview on March 15, 2013. In your March 16th reply to my email, you said: The piece…
Tilda Swinton leads 1,500 people in a dance-along to Barry White's "You're the First, the Last, My Everything" during Roger Ebert's Film Festival in the…

"The Girl From the Naked Eye" opens with a lurid cover from an old pulp detective magazine, and that's the look it achieves. Here's a film noir crossed with a martial-arts movie, taking place in the dark shadows of mean streets. And that's about all you need to know about the plot, which serves simply as a device to keep us moving right along from one bloody action sequence to the next.
It isn't a great movie, but it looks terrific and makes me look forward to the next film by its director, David Ren. He has a good eye. I like his vertiginous high-angle shots looking down into the gray, forbidding caverns between skyscrapers. I like the way he uses the reds and greens on neon signs, isolated in dark settings. I like the offices of nightclubs and mob bosses, where cigars are smoked and threats are made. I like the smoking in general: Some of the characters seem to be smoking at each other as an act of aggression. The dialogue sometimes seems to be deliberately trying for satire, as when two guys go nose to nose and seem to be seeing who can shout the f-word the most.
It sounds, in fact, as if I like the movie. It was a pleasure to watch, but it never deserved its visuals. The story (which actually could come from one of those old pulps) is narrated in a hard-boiled voiceover by the hero, Jake (Jason Yee), who drives call girls for an escort agency and vows vengeance when his favorite girl, Sandy (Samantha Streets), is gruesomely murdered. His search for the killer leads him into one dangerous situation after another, especially since he seems to have stumbled into a situation where powerful men are not especially thrilled about finding the killer.
The movie is populated with don't-blink cameos, including one by Dominique Swain, Adrian Lyne's "Lolita" (1997) and another by porn star Sasha Grey. The rest of the cast is filled with hard-looking tough guys, more than half of them Asian-American, although no reference to ethnicity is ever made. The movie seems destined for DVD, but it makes a stop this week at three theaters, and would benefit by being seen on a big screen.
Roger was a titan in the film community, but he was also a beacon for the seriously disabled.
Billy Wilder's under-appreciated 1978 "Fedora" returns to Cannes to remind us that some things, like the fear of agin...
While Cannes's red-carpet crowd toasts the Coen brothers' tuneful "Inside Llewyn Davis," the parallel programs have a...
A day of grim films in which "Borgman" attempts Haneke-like surreal grimness and falls short, "The Missing Picture" a...