The Equalizer 2
Even the most easily satisfied fans of Washington will be unlikely to find much of anything in this sadistic, stupid and sloppy sequel.
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
A collection of memories from fans of Roger Ebert.
“The Sweet Hereafter” is superlative in its uncompromising but undeniably compassionate depiction of a bleak human condition.
On the Ebert Filmmakers Tribute Lunch to Wim Wenders.
An appreciation of William (Bill) Marshall, Co-Founder of the Toronto International Film Festival.
A news brief on Saturday's Ebert Tribute event, which celebrated director Agnès Varda.
A bunch of 2016 Oscar nominees and must-own Criterion releases just hit Blu-ray. Pick your favorite!
A FFC essay on Paul Schrader's 1997 darkly powerful drama Affliction.
A report from the 2015 Los Cabos International Film Festival.
A review of Atom Egoyan's "Remember".
A gallery of photos, videos and links illustrating Chaz's journey relating to Roger's legacy in the two years since his death.
A report from the 2014 Los Cabos Film Festival.
A photo gallery offering snapshots from The Ebert Dinner at the 2014 Toronto International Film Festival.
Cannes reporters Michał Oleszczyk and Ben Kenigsberg discuss the films of this year's Cannes Film Festival.
A report on the premiere screening of Atom Egoyan's "Captives".
Your guide to the best movies New to Netflix, On Demand, and other at-home services.
Sheila writes: Those of you attending Ebertfest, a note from Chaz:We will have our annual Ebert Club Meet and Greet at the Roger Ebert Film Festival, Thursday, April 24, 2014 at 8 am - 10 am in the Illini Union, General Lounge. Also invited are the Far Flung Correspondents and writers from Rogerebert.com. I look forward to seeing you there!
• Toronto Journal #1More than in previous years, I'm noticing the laptops in the audiences here at the Toronto Film Festival. Some of the bloggers seem to be beginning their reviews as the end credits still play. Then you see them outside, sitting on a corridor floor, their computers tethered to an electric umbilical, as they type urgently. Of course many of them share their opinions in quick conversational bursts, and a consensus develops. Most films good enough for an important festival, I think, require a little more marinating.
David Fincher's "The Social Network"is emerging as the consensus choice as best film of 2010. Most of the critics' groups have sanctified it, and after its initial impact it has only grown it stature. I think it is an early observer of a trend in our society, where we have learned new ways of thinking of ourselves: As members of a demographic group, as part of a database, as figures in...a social network.
The year's best feature films:
Atom Egoyan must be a wonderful teacher. (Photo by Roger Ebert) Egoyan on inspiration
Egoyan on erotic scenes
Egoyan on Amanda Seyfried
Egoyan on Liam Neeson
Egoyan on Ingmar Bergman and the essence of cinema
Egoyan on preconceptions about actors
Egoyan on film versus video as a medium
Egoyan on the "tipping point"
Egoyan on why we're uneasy seeing famous stars in sex scenes.
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Atom Egoyan often makes erotic melodramas. There was a time when audiences perked up at the prospect of, oh, you know, sex and nudity and stuff, but these days moviegoers seem strangely neutered. They'd rather look at fighting machines or 3-D animals. They like their porn the way it's presented on the Net, wham-bam, thank you, man. The notion of erotic tension uncoiling within the minds of characters and unfolding languidly in sensuous photography is, I dunno, too artistic.
I AM SO PROUD that eight of the Far-Flung Correspondents will be attending Ebertfest 2010, and so sincerely moved that they're providing their own tickets! A shout-out to Ali Arikan, Seoungyong Cho, Weal Khairy, Michael Mirasol, Omar Moore, Omer Mozzafar, Gerardo Valero, and Grace Wang. Only Robert Tan, who has been under the weather, will be missing. They're all bloggers, and will be on a panel Friday morning about the Global Web of Filmlovers.
Q. You're a lonely single film buff and it's Saturday night. Hitchcock or Kurosawa? (Matrcus Burciaga)
I saw three new movies on Monday. Each one could have been the best film of the day. I can't choose among them, so alphabetically: Werner Herzog's "Bad Lieutenant: Port of Call New Orleans," Atom Egoyan's "Chloe" and Rodrigo Garcia's "Mother and Child." A story involving a cop uncontrollably strung out on drugs. A story involving a wife who meets a hooker. A story about three woman whose lives are shaped by the realities of adoption. Three considerable filmmakers. Three different tones. Three stories that improvise on genres instead of following them. Three titles that made me wonder, why can't every day be like this?
Nicolas Cage and Werner Herzog were surely destined to work together. Radical talents are drawn to one another. Cage tends to exceed the limitations of a role, Herzog tends to exceed the limitations of film itself. Knowing nothing about conditions during the shoot, my guess is they found artistic harmony. If not, they ended up hardly on speaking terms. Either way would have worked.
I saw three new movies on Monday. Each one could have been the best film of the day. I can't choose among them, so alphabetically: Werner Herzog's "Bad Lieutenant: Port of Call, New Orleans," Atom Egoyan's "Chloe" and Rodrigo Garcia's "Mother and Child." A story involving a cop uncontrollably strung out on drugs. A story involving a wife who meets a hooker. A story about three woman whose lives are shaped by the realities of adoption. Three considerable filmmakers. Three different tones. Three stories that improvise on genres instead of following them. Three titles that made me wonder, why can't every day be like this?