Zombieland: Double Tap
The vast majority of sequels are unnecessary, but Zombieland: Double Tap feels particularly so, especially coming out a decade after the original.
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)
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.
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.
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.
Nobody has made more money by killing people in the movies than
A few simple truths about violence in the movies and on TV:
There is, of course, no such thing as a movie "so bad, it's good." If it is good, it is not bad. This is obvious to everyone except those who make up lists of "good bad movies." Nor should there be such a thing as a film you're ashamed to admit you like. If it is a good film, where is the shame?
NEW YORK It's a tradition of the celebrity roasts at the Friar's Club that everything goes - that no joke is in such bad taste that it cannot be told. Friday, that tradition may have ended, as a roast for Whoopi Goldberg turned into such a tasteless display that some audience members hid their faces in their hands, and others left.
Jane Campion's wonderous film "The Piano" arrived at this year's Cannes Film Festival so already wreathed in glory that another director, Abel Ferrara, groused: "They might as well have met her at the airport and given her the prize, and let it go at that."
Place to sit: Sit twice as far back as the screen is wide. Try to choose the side of the theater farthest from the main entrance door; more people will choose the other side, lessening your chance of having someone sit in front of you.
Ebert's Best Film Lists 1967 - present