If Beale Street Could Talk
Jenkins’ decision to let the original storyteller live and breathe throughout If Beale Street Can Talk is a wise one.
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 at Large 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)
Nobody has made more money by killing people in the movies than
CANNES, France If Stephen Hawking had not already used it, A Brief History of Time would be the perfect title for a book about the movies. No other medium allows us to look more carefully into the human face, and to reflect on the way it records the passage of time.
There is no such thing as a critic being right or wrong. He expresses his opinion, and that's that. Yet when "Indecent Proposal" took off into the box office stratosphere, the showbiz analysts chortled that the critics had missed the boat. The film opened to nearly unanimous negative reviews, and yet the public couldn't wait to see it. And the "exit surveys" indicated they liked it, too.
Before the Imax movie started the other night at the Museum of Science and Industry, they turned on the lights behind the screen, and you could see right through it to 72 speakers that were staring back at you like the eyes of a science-fiction monster. Then the movie began, flooding the eyes with images.
Ebert's Best Film Lists 1967 - present
NEW YORK -- It was clear, after all the years of publicity and months of controversy, that "Malcolm X" had better be a good movie, or Spike Lee would go down with it. He had talked the talk, and now it was time to walk the walk.
For a newspaper, there is an element of irony involved in writing about dirty words. You may just have come from seeing "Glengarry Glen Ross," with its litanies and riffs of four -letter words, but in this newspaper, the closest you will get to them is a "- - - -." Apart from certain exceptions such as the testimony in the Thomas-Hill hearings, newspapers have not lowered the barricades against expletives.
"Gone With the Wind" had one dirty word. "Casablanca" had none, even though it took place in a bar. "Scarface" had more than 500. "Glengarry Glen Ross," the new film written by David Mamet, doesn't top the "Scarface" over-all total, but places first in one category, the number of times it employs the word beginning with "f."
The adventure was over. Soon,
They are a couple for the '90s, he in latex, she in leather, he with pointy ears, she with slashing claws. Beneath their retro evening costumes, of course, they are a mass of neuroses: Batman is the quintessential lonely guy, and Catwoman is the victim of office sexism, who explodes in anger after she is harassed one time too many.