Once Upon a Deadpool
Not just a heavily redacted version of the film that will be playing around the clock on basic cable in a couple of years.
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)
BOULDER, Colorado -- Do not read one more word unless you're one of those weirdos who can find a hidden meaning in anything. What follows is a close viewing of "The Silence of the Lambs" in which we will discover more in the film than even its director, Jonathan Demme, knows he included. We may even find more in the film than is there.
"Casablanca" is The Movie.
The new thriller "Basic Instinct" is under attack from a gay coalition because all of the women in it are possibly lesbian thrill-killers. Enough is enough, the coalition says. Hollywood has been casting homosexuals in bizarre and depraved roles for so long now that maybe it's time to add a little balance to the picture.
If you remember Edward James Olmos as the high school math teacher in "Stand and Deliver," the 1988 movie that won him an Oscar nomination, you remember a gentle, stooped man with his hair plastered tightly across scalp--a man who looked so inoffensive and conciliatory that his strength was one of the surprises in the story. If that is the Olmos you remember, you would not recognize him on the street. The real man is much more alert, coiled, powerful.
When "The Man in the Moon" made my list of the best films of 1991, it was directed by Robert Mulligan.
"I want to find out what the censors say about my film," Andrei Konchalovsky whispered to the projectionist. "I'll give you a bottle of brandy if you eavesdrop after the screening, and let me know what their objections are."
It seems to be written in the subconscious of the world's moviegoers that a feature film should be somewhere between 95 and 120 minutes long. Much shorter, and you don't get your money's worth. Much longer, and you start getting restless. We've been trained to expect two hours.
Thank God for President Bush's stomach flu. It gave the op-ed pundits something to write about other than Oliver Stone's "JFK." Never in my years as a newspaperman have I seen one subject pummeled so mercilessly and joylessly as this movie that questions the official wisdom on the assassination of John F. Kennedy.
LOS ANGELES -- It happened several years ago. Larry Kasdan was standing on a street corner, and he stepped off the curb and then a woman grabbed him by the collar and yanked him back toward her, and just then a big city bus thundered past, going fast.
Ebert's Best Film Lists 1967 - present