In Memoriam 1942 – 2013 “Roger Ebert loved movies.”

RogerEbert.com

Thumb_mv5bmtgxnteymtyzov5bml5banbnxkftztgwnzq4otg5mje_._v1__sx1216_sy712_

The Boy Next Door

The Boy Next Door has its share of so-bad-they’re-good moments – and details, and chunks of dialogue – but not nearly enough. Mostly, they’re just…

Thumb_mv5bmtg4mjuxodczm15bml5banbnxkftztgwmdy4mjy0mze_._v1__sx1216_sy712_

Son of a Gun

Avery’s more than capable behind the camera, he just needs to be met halfway by his screenwriting, which dwells in overly familiar territory.

Other Reviews
Review Archives
Thumb_xbepftvyieurxopaxyzgtgtkwgw

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…

Thumb_jrluxpegcv11ostmz1fqha1bkxq

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…

Other Reviews
Great Movie Archives
Primary_si1-thumb-500x212-18237

Artifice and truth: From Mean Streets to Shutter Island

No modern director is more in love with the artifice of filmmaking than Martin Scorsese, or more overt in his expression of it. From the "drunk-cam" in "Mean Streets" (1973) to the self-consciously stylized performances in films like "Raging Bull" and "The King of Comedy," the William Cameron Menzies opening of "Alice Doesn't Live Here Anymore" to the ersatz two-strip Technicolor of "The Aviator" to the 1954 Hitchcock psychodrama look of the current "Shutter Island," Scorsese packs his frames with dense layers of Hollywood history.

Sometimes, as in "New York, New York" (my favorite of his films, along with "The King of Comedy," "After Hours" and "GoodFellas"), he contrasts '40s, '50s and '60s studio gloss with the no-less-mannered "naturalistic" improvisational acting favored by Kazan and Cassavetes from the same era. Likewise, in films like "Shutter Island" he immerses himself and his audience in a world that never existed outside of the movies. "Raging Bull," for example, isn't just a boxing picture and a showbiz biopic, it's a study of boxing pictures and showbiz biopics. "GoodFellas" isn't just a gangster film, it's a movie about gangster films. Has any other director offered a nearly four-hour "Personal Journey... Through American Film" (a 1995 guided tour beginning with clips from "The Bad and the Beautiful" and "Duel in the Sun"), followed by another four-hour personal essay on Italian cinema (1999's "My Voyage to Italy")?

To salute the surprise success of "Shutter Island" (top of the box-office for two weeks running), I took some excerpts from an introductory interview Scorsese did for the now out-of-print 2005 MGM DVD release of "New York, New York" and interpolated frame grabs from that movie and others. The result might serve as a primer on how to watch any Martin Scorsese picture.

Popular Blog Posts

Confessions of an Awards Season Skeptic, Part Two: I, A Lone Voice of Sanity and Calm Awash in a Sea of Noise and Indignation

Glenn Kenny tries to provide some calm, reason, and perspective to today's major Oscar nominations.

Who do you read? Good Roger, or Bad Roger?

This message came to me from a reader named Peter Svensland. He and a fr...

Gratitude

A note of thanks from Chaz Ebert to the wonderful people behind "Life Itself."

They're All Gonna Laugh At You: The "Carrie" Remake

A look at Kimberly Pierce's 2013 version of "Carrie."

Reveal Comments
comments powered by Disqus