Lean on Pete
I marveled at the humanist depth of the world Haigh creates, one that can only be rendered by a truly great writer and director, working…
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)
Not since “I, a Woman” hit the suburbs has a movie caused more excitement than “Bonnie and Clyde.” It's the blood-soaked, tenderly photographed love story of two bandits and the banks they called their own.
For many American moviegoers, Jean-Luc Godard's “Breathless” (1960) was an introduction to the new style of French filmmaking. Everything about the movie seemed filled with life, invented on the spot. Godard scribbled the script on the backs of envelopes every morning before shooting. For his hero he chose an unknown, Jean-Paul Belmondo, who was not handsome like Rock Hudson but ugly like Humphrey Bogart. Aware of the inevitable comparisons, Belmondo parodied Bogart in a memorable scene which put him in the tradition of the master.
It's a game you get to play everywhere, because so many people have seen "Blow-Up," and most of them want to talk about it. Movies that require you to figure things out for yourself always leave a lot of frustrated customers behind.