The House with a Clock in Its Walls
Black, more than anyone else, should have been the one to wind up The House with a Clock in Its Walls. Too bad he doesn't…
* 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 deep dive into the acting career of Glenn Close, celebrating a performer who gets more out of stillness than almost any other actor.
A look at Escape to Victory in light of the World Cup and world events.
Matt writes: I just returned from covering the 53rd Karlovy Vary International Film Festival in the Czech Republic, where I saw some excellent films, and got the chance to meet many extraordinary people. The full table of contents contains links to my conversations with Terry Gilliam, Richard Linklater, Barry Levinson, Caleb Landry Jones, Anna Paquin, Stephen Moyer, Denis O'Hare and "Leave No Trace" star Thomasin Harcourt McKenzie. You will also find reviews of such unmissable titles as "Cold War," "Putin's Witnesses," "Girl," "Winter Flies," "Crystal Swan," "Museum," "Moments" and more.
A dispatch from the 2018 Karlovy Vary International Film Festival, featuring coverage of closing night, a conversation with Barry Levinson, and reviews of "Putin's Witnesses," "Museum," "Climax" and "Cold War."
Ben Foster talks about his work in the new critically-acclaimed Debra Granik film, "Leave No Trace."
A preview of the 53rd Karlovy Vary International Film Festival, running June 29th through July 7th.
A tribute to the late, great John Mahoney.
A review of two network dramas this week, NBC's Shades of Blue and ABC's American Crime.
A TV review of Discovery's "Killing Fields".
An overview of the films that will be theatrically released in the 2015 fall season.
Lessons learned from "Rosemary's Baby"; What's missing from "Straight Outta Compton"; Keith Gordon on "The Singing Detective"; Rose McGowan's feminist revolution; Memories of Musso & Frank.
An excerpt from Michael Koresky's new book about the great filmmaker Terence Davies, the Marcel Proust of Liverpool.
Odie Henderson went to TIFF 2014 and shares his favorites from this year's fest, along with a glimpse of what's it like on the ground at a fest like Toronto.
A report on day three of TIFF on "Pawn Sacrifice" and "The Humbling."
The writers of RogerEbert.com reflect on the life, career and death of Robin Williams.
Robin Williams, 1951-2014.
An excerpt from "Tom Cruise: Anatomy of An Actor."
This HBO drama about Muhammad Ali's court case over his conscientious objector status is surprisingly inert.
HAPPY BELATED BIRTHDAY TO THE EBERT CLUB!
Sometimes people learn a hard life lesson about their world when they are young and innocent. Molly, a young white South African girl in "A World Apart" (1988), learns it in a way far more hurtful than usual. She wants her normal comfortable life to resume again, but her world is Johannesburg in the 1960s. She begins to grasp lots of injustices in her world, even while confused and hurt a lot by her parents as well as what happens to her and her family.
Although most religions forbid it, human societies throughout history have accepted suicide as a reality. Sometimes, as in Japan, it was seen as a matter of personal honor. Usually it was seen as an act of despair, or a manifestation of insanity. It can also be seen as a rational act, and to assist someone in committing it can be seen as an act of mercy.
I have never, even in my darkest hours, considered suicide. But with my troubles I have been fortunate; I've never had unbearable physical pain. In Barry Levinson's movie "You Don't Know Jack," Dr. Jack Kevorkian's best friend says his mother told him: "Imagine the worst toothache you've ever had. Now imagine that's how it feels in every bone of your body."
In a reply to what he feels is a misleading (nay, delusional) review of his essay film "Poliwood" by New York Times TV critic Alessandra Stanley, Barry Levinson offers this sound advice:
To reiterate, criticism is a part of a filmmaker's journey. Any time you attempt to tackle a subject that is complicated, one is open to criticism. It comes with the territory. A WARNING: to any thin-skinned filmmaker, get out of this line of work quickly or you'll die a hemophiliac. But when one's work is used as fodder for a critic such as Ms. Stanley, then I feel I must speak up... and throw caution to the wind. [...]
The New York Times is known throughout the world as one of the leading newspapers in this country. It has excellent film criticism and book reviews. And a very strong op-ed page. Where Ms. Stanley fits into this strong lineup is questionable at best.
As a filmmaker, all you can expect is for your work to be examined for what it is....
"M:I:III": To see or not to see?
Quick: When you think "Tom Cruise," what's the first thing that pops into your mind? Tabloid celebrity? Love-struck happy dad? Couch-jumper? Noted skeptic and scholar of the history of psychology and psychopharmacology? Censor? Superspy? Scientologist? Actor? The former Mr. Kidman? The future Mr. Holmes? Movie star?
The release of "Mission: Impossible III" on Friday is being touted by some as a referendum on Cruise's career as a celebrity with marquee value. It's Cruise's third time out as superspy Ethan Hunt (no, not that guy who used to be married to Uma Thurman -- the secret agent dude!), so the franchise may have quite a bit of steam of its own. But after the Scientology-backed clampdown on the "Trapped in the Closet" episode of "South Park" in the US and the UK (and today, by the way, happens to be Day 50 of "South Park" Held Hostage) and other bizarre off-screen behavior, Cruise's box-office status is being... questioned.
Nothing that has happened since the Academy Awards nominations were announced has swayed me from my immediate conviction that "Chicago" will be the big winner on Oscar night. I know that "The Pianist" was named best film by the British Academy. I know "The Hours" was honored for its screenplay at the Writers Guild Awards. But, hey, I also know the Directors Guild honored Rob Marshall for "Chicago" over Martin Scorsese--and when a rookie can outpoll a living national treasure in a vote of directors, there's a bandwagon on the way."Chicago" is not the best of the nominated films. That would be "Gangs of New York." But you have to understand that the academy doesn't vote for the best film. It votes for the best headline. This year, it sees big type that shouts "The Musical Comes Back!" Having failed to honor "Moulin Rouge!" last year, the academy will vote this year the way it thinks it should have voted the year before. (Example: The 2001 Oscar for best actor went to Russell Crowe, who more reasonably should have won a year earlier for "The Insider.") Here are the major categories and my predictions: