Wim Wenders' "Kings of the Road" is a film of great depth and beauty, and its black and white photography is worthy of comparison with John Ford's. But it is rarely played commercially, maybe because of its three-hour length.
“Close Encounters of the Third Kind” had its official premiere here last Sunday before one of those typical media crowds: Hard to please, veterans of a thousand opening nights, showing its sophistication as the credits went past by applauding the names of the cinematographers. The final credit faded silently to darkness on the screen, and there was a certain hush: Here was director Steven Spielberg's $24-million gamble, and we were about to see if he'd pulled it off.
We've just been through a remarkably old-fashioned summer at the movies: A summer during which the big hits were a space opera, a romantic melodrama, a thriller about sunken treasure and even one more absurdist frolic with good old James Bond. Summer is traditionally the season for quick, shallow entertainments, but the summer of 1977 outdid itself, and was astonishingly successful at it; Variety, the show-biz bible, calls this the best summer in years at the movie box office.
Everybody seems to love a ‘disaster.’
Our film critic, Roger Ebert, steps out into the light, blinks his eyes and shares some of the good memories.
See also this entry from Roger Ebert's Journal:
"Everybody's singin' it, everybody's hummin' it, that Trans-syl-VANE-ian Lullaby!" Mel Brooks conducted an imaginary symphony orchestra. "Isn't it a lovely tune?" he asked. "It was composed just for our movie. I said I needed a little romantic music for Grandson of Frankenstein's wedding night, and here's what I got."
In this racket, you see maybe 250 movies a year. When I first got into it, the pace seemed incredible, and I didn't see how anyone could possibly last five years as a movie critic. I used to tell people, in fact, that five years of this ought to be enough for anybody. There were times, in fact, when five minutes of it seemed enough for anybody. The first five minutes of "Vengeance of She" were five of those
Ebert's Best Film Lists1967 - present
A fourth viewing of "Medium Cool" convinces me more than ever that this is a great American document, one of the most important films of this political and social period. It's also evident, this time around, that "Medium Cool" succeeds in different ways than most movies; that, indeed, it is weakest on its conventional levels.