Star Wars: The Last Jedi
Everything that a fan could want from a Star Wars movie and then some.
Roger Ebert became film critic of the Chicago Sun-Times in 1967. He is the only film critic with a star on Hollywood Walk of Fame and was named honorary life member of the Directors' Guild of America. He won the Lifetime Achievement Award of the Screenwriters' Guild, and honorary degrees from the American Film Institute and the University of Colorado at Boulder.
Chaz is the Publisher of RogerEbert.com and a regular contributor to the site, writing about film, festivals, politics, and life itself.
Matt Zoller Seitz is the Editor-in-Chief of RogerEbert.com, TV critic for New York Magazine, the creator of many video essays about film history and style, a finalist for the Pulitzer Prize in criticism, and the author of The Wes Anderson Collection. His writing on film and TV has appeared in The New York Times, Salon, New York Press, The Star-Ledger and Dallas Observer. (Banner illustration by Max Dalton)
"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.
The films of Jean-Luc Godard have fascinated and enraged moviegoers for a decade now. The simple fact is: This most brilliant of all modern directors is heartily disliked by a great many people who pay to see his movies.
Just over a week ago, "Dark of the Sun" opened in Chicago. I wasn't in town at the time and haven't yet seen it. Glenna Syse reviewed it for The Sun-Times and found it a "nauseous exercise in new ways of drawing blood."
Talk radio in Chicago came to a graceful, sad demise on WBBM Saturday night. It was a good wake, everyone agreed; not as much fun as Finnegan's, but better than Howard Miller's.
Good parables explain themselves. After you have read the story of Lazarus in the Bible, you don't need anyone to explain it to you. The same is true, I believe, of Stanley Kubrick's parable "2001: A Space Odyssey." It contains the answers to all the questions it advances.
Holding forth about actors a few years ago, John Huston allowed as how there were good ones and bad ones, and then there were a few like splendid thoroughbreds: All you had to do was judge their gait and you could see they had class.
Romeo and Juliet were upstairs asleep in the castle, and Franco Zeffirelli kept the night watch alone. He sat cross-legged on the old stone wall of the Palazzo Borghese and sipped brandy from a paper cup. Behind him, the wall fell 100 feet into the valley. Above him, the little town clung to the hillside, each house stacked above the last. And on the other side of the castle wall was the secret garden where the families of the Borghese had doubtless spent their afternoons 400 years ago.