"Transcendence" is a serious science fiction movie filled with big ideas and powerful images, but it never quite coheres, and the end is a copout.
I sense the debate over gun control is entering into a new phase and the gun lobby is losing. After Obama's second victory, the wind changed. Republicans are suffering uncertainty, and many of them grow restless. We have absorbed years of mass murders, random violence and accidental shootings. If the nation is no longer is no able to absorb those deaths, then Congress will act first against multiple-shot magazines for guns intended for in war.
A man said to the universe: "Sir, I exist!" "However," replied the universe, "The fact has not created in me "A sense of obligation." --Stephen Crane
That man can be found at the center of Werner Herzog's films. He is Aguirre. He is Fitzcarraldo. He is the Nosferatu. He is Timothy Treadwell, who lived among the grizzlies. He is Little Dieter Dengler, who needed to fly. She is Fini Straubinger, who lived in a land of silence and darkness since she was 12. He is Kaspar Hauser. He is Klaus Kinski. He is the man who will not leave the slopes of the Guadeloupe volcano when it is about to explode. He is those who live in the Antarctic. She is Juliana Koepcke, whose plane crashed in the rain forest and she walked out alive. He is Graham Dorrington, who flew one of the smallest airships ever built to study the life existing only in the treetops of that rain forest.
• As told to Roger Ebert
Al Pacino, Christopher Walken and Alan Arkin walk into a hotel room, and that sounds like the set-up for a joke. It's more like a long-delayed punchline. These guys have been stars for more than 40 years, but until "Stand Up Guys," they've all three never been in a movie together. Arkin and Pacino were in "Glengarry Glen Ross" together, and Walken and Pacino were both in "Gigli," but that's as far as it goes.
I mention they go way back.
"Yes, absolutely," Walken says. "I've known Al for decades, from New York and from, you know..."
"He didn't know I was an actor," Pacino says, "until we did this movie. He'd just see me around the street a lot."
My good Sun-Times pal from the 1970s at the Chicago Sun-Times, Cynthia Dagnal, wrote me today:
"A friend in London sent me this, obituary from the London indpendent and I was stunned to see that Jeni Le Gon attended the same Southside dancing school in Chicago that I did. It was probably the most reputable one on that side of the "color line," and not very far from my house. So I studied with the younger "protégés" of Mary Bruce, and all those cute pics of me in little but EXPENSIVE tutus and whatnot that I sometimes use on my blogs are reminders of those days! I took tap, jazz and ballet as a wee one, and loved to walk around en pointe all day long in those danged--and also expensive--toe shoes!"
Booked into the Auditorium Theater in Chicago in the 1930s, Orson Welles was confronted by a snowstorm of historic proportions. Most of his audience couldn't make it to the theater.
"Good evening, ladies and gentlemen," he said. "My name is Orson Welles. I am an actor. I am a writer. I am a producer. I am a director. I am a magician. I appear onstage and on the radio. Why are there so many of me and so few of you?"
No favorable review I've ever written has inspired more disbelief than my three stars for "Speed 2." Even its star, Sandra Bullock, started mentioning in interviews her disgust with herself for agreeing to star in it. It's frequently cited as an example of what a lousy critic I am. (Note well: Siskel also gave it thumbs up.) All the same, I'm grateful to movies that show me what I haven't seen before, and "Speed 2" had a cruise ship plowing right up the main street of a Caribbean village.
Here is a collection of a dozen of the best documentaries I saw in 2012. It's not a "best of the year" list. Just some good memories of these films.I will not burden you again with another complaint about lists. More than ever, I despise them because they shift focus away from a film and toward a list. When I recently caught up with "Django Unchained," for example, I gave it four stars. The comments section was overrun with readers asking if that meant it was now on my Top Ten list. One reader insisted on knowing which title it replaced. Although the piece was some 2,000 words long, another reader insisted he still wanted to see "my official review."
The Oscars are the most important way the American film industry can honor what it considers the year's best work. But for millions of movie lovers all over the globes, they are something else: A show.
That's why I suspected last June that Quvenzhané Wallis might win a nomination. The pride of Hounduras Elementary School in Houma, LA, has now become, at nine, the youngest nominee in history for Best Actress. Her story is even better: She was five when she auditioned for the role, and six when she performed it.
Rating: Four stars
Consider now the curious character of Dr. King Schultz. He is an itinerant dentist who works from his little wagon, traveling the backroads of the pre-Civil War South. As Quentin Tarantino's "Django Unchained" opens, we see a line of shackled slaves being led through what I must describe as a deep, dark forest, because those are the kinds of forests we meet in fairy tales. Out of this deepness and darkness, Schultz (Christoph Waltz) appears, his lantern swinging from his wagon, which has a bobbling tooth on its roof.
Michael Haneke's "Amour," which won the Palme d'Or last May at Cannes, was voted Saturday the best film of 2012 by the prestigious National Society of Film Critics. The award, coming on the eve of voting for the 2013 Academy Awards, confirms "Amour" as a Best Foreign Film frontrunner. Other NSFC winners will also draw welcome attention.