The Hangover Part III
Better than “The Hangover Part II,” but equally as useless, “The Hangover Part III” plays more like a caper film than an outright comedy. The…
Better than “The Hangover Part II,” but equally as useless, “The Hangover Part III” plays more like a caper film than an outright comedy. The…
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Robert Redford braves the high seas alone in the shipwreck drama "All Is Lost."
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Roger was a titan in the film community, but he was also a beacon for the seriously disabled.
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Roger was a titan in the film community, but he was also a beacon for the seriously disabled.
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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…
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Named after the David Cronenberg film, this is the blog of RogerEbert.com founding editor Jim Emerson, where he has chronicled his enthusiasms and indulged his whims since 2005. Favorite subjects include evidence-based movie criticism, cinematic form and style, comedy, logical reasoning, language, journalism, technology, epistemology and fun. No topic is off-limits, but critical thinking is required.

"Vertigo": The bar

"Vertigo": The hand.

"Munich": The bar(s).
"
Munich": The hand.
Both movies begin with a close-up of metal barrier at night. A hand grabs it, and a man pulls himself up into the frame, suggesting a transgression of some kind is occurring. In "Vertigo," the man is a criminal suspect on the run from a policeman (and, we soon learn, James Stewart); in "Munich," he is one of the Palestinian Black Septemberists, climbing over the gate into the Olympic Village where he and his terrorist cohorts will murder 11 Israeli atheletes -- the event that sets the movie's story in motion.
More on both these movies in future Opening Shots. Just wanted you to see the effective way Spielberg begins his movie with a visual quotation from Hitchock's. I've heard from people over the years who don't think critics should mention other movies in reviews -- like it's just some kind of arcane "film geek" thing. (I got an e-mail just last week, scolding me for mentioning Spielbergian suburban-myth movies -- "CE3K," "E.T. The Extra-Terrestrial," "Poltergeist" -- in my review of "Lady in the Water"; I don't see how you could review that movie without mentioning predecessors like those in the work of a filmmaker who has spoken publicly about Spielberg's influence on him. That's a critic's job -- to offer context and analysis.) Artists in all fields borrow and comment upon each others' work all the time. (You don't have to know, for example, that Nirvana thought "Smells Like Teen Spirit" was just their Pixies rip-off -- but you may hear it with new ears once you do.) In this case, Spielberg is grabbing an image that has resonance, for him and the audience, even if you don't consciously notice it when you see it. It has impact, some of which reverberates all the way back to "Vertigo" in 1958 and the way that movie made you feel in its opening sequence....
Next Article: Opening Shots: 'The Rapture' Previous Article: Opening Shots: 'Yojimbo'
Robert Redford braves the high seas alone in the shipwreck drama "All Is Lost."
"Only God Forgives" commits the unforgivable sin of being boring, "Muhammad Ali's Greatest Fight" is about old white ...
Marie writes: Now this is really neat. It made TIME's top 25 best blogs for 2012 and with good reason. Behold arti...
If you go to a yacht party, don't expect to be living out your own version of "The Talented Mr. Ripley."