An ambitious, challenging piece of work that people will be dissecting for years. Don’t miss it.
* 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.
“The Sweet Hereafter” is superlative in its uncompromising but undeniably compassionate depiction of a bleak human condition.
The 25 films we're most excited to see during the fall of 2017.
No, they don't make 'em like they used to … but they're not shy about remaking them.
A review of FX's “The People vs. OJ Simpson: American Crime Story.”
A piece on the themes of Andrew Niccol's work in light of the release of Good Kill this weekend.
"As film exhibition in North America crowds itself ever more narrowly into predictable commercial fodder for an undemanding audience, we applaud those brave, free spirits who still hold faith with the unlimited potential of the cinema." - Roger
Marie writes: The Ebert Club Newsletter is now three years old! And the occasion calls for some cake - but not just any old cake, as it's also now officially Spring! And that means flowers, butterflies and ladybugs too. Smile.
Marie writes: Intrepid club member Sandy Khan has sent us the following awesome find, courtesy of a pal in Belgium who'd first shared it with her. "Got Muck?" was filmed by diver Khaled Sultani (Emirates Diving Association's (EDA) in the Lembeh Strait, off the island coast of Sulawesi in Indonesia. Camera: Sony Cx550 using Light & Motion housing and sola lights. Song: "man with the movie camera" by cinematic orchestra.
Marie writes: Did you know that if you wear your contact lenses too much and too long during the cold, winters months - and with the windows closed and the heat cranked-up, that you can develop an annoying eye condition? Because you can. Ahem. And so for the time being, I'll be spending less time staring at my monitor and more time resting my eyes. The Newsletter will still arrive as usual each week, but it won't be as huge. That said, it will contain a few extra goodies to make up for it, by way of curious finds. And speaking of finding stuff...."On Thursday, March 7, 2013, SpaceX's Grasshopper doubled its highest leap to date to rise 24 stories or 80.1 meters (262.8 feet), hovering for approximately 34 seconds and landing safely using closed loop thrust vector and throttle control. Grasshopper touched down with its most accurate precision thus far on the centermost part of the launch pad. At touchdown, the thrust to weight ratio of the vehicle was greater than one, proving a key landing algorithm for Falcon 9. The test was completed at SpaceX's rocket development facility in McGregor, Texas." - by Neatorama
Happy New Year from the Ebert Club!TRAILERS
I packed my bags last night, pre-flight Zero hour, 9 a.m. And I'm gonna be high as a kite by then. -- Elton John & Bernie Taupin, "Rocket Man" (1972)
Cinema, for me, has always been something like music composed with photographic images. Others see it more like "action painting," and we've seen a lot of discussion in recent years about what J. Hoberman and others have called "post-photographic cinema," in which computers have replaced cameras, and animation has replaced photography, as the primary means of creating images on a screen. (Hoberman: "With the advent of CGI, the history of motion pictures was now, in effect, the history of animation.") "Flight" is Robert Zemeckis's return to live-action photography for the first time since "Cast Away" (2000), after a series of IMAX 3D animated adventures: "The Polar Express" (2004), "Beowulf" (2001) and "A Christmas Carol" (2007). It's also a return to making movies aimed at an adult audience -- and one that proved to be a different, and more interesting, than the movie I'd seen advertised in the trailer.
Marie writes: Next door, across a long narrow drive and beyond the row of cedar hedges which run parallel to it, there resides an elementary school dating back to 1965, along with an assortment of newer playground equipment rendered in bright, solid primary colors...I'm sure you know the sort I mean...
A few weeks ago on Facebook -- that sly keeper of family secrets, whose memory seems to have increased incrementally with its new Timeline mumbo-jumbo -- an actor of some repute posted a list of the best Twitter accounts of 2011, as compiled by a wholly forgettable outlet. He had been placed relatively highly, and someone commented that it was a very subjective list. Apart from the fact that taking issue with "a list of the best Twitter accounts of 2011, lol" is by definition absurd, the statement presented a logical fallacy (I am fully aware of the irony of regarding a throwaway Facebook comment in such depth). All lists are subjective: that's why they're lists. Nonetheless, this fairly simple fact gets lost in the year-end frenzy as interested parties start calling for the list-maker's head, like angry villagers wielding pitchforks, if and when their favoured books, albums, films, etc fail to place on a given critic's compilation of the year's best.
The Ebert Club Newsletter is 1 year old!
View image Todd on Bob: Woody Guthrie (Marcus Carl Franklin), as one incarnation -- a name-dropping bluesman in 1959 (with tales of Blind Willie McTell and Gorgeous George) who seems to think he's still in the Great Depression. Others include Arthur Rimbaud (Ben Whishaw), Jude Quinn (Cate Blanchett), Robbie Clark (Heath Ledger), Jack Rawlins/Pastor John (Christian Bale) and "Billy" McCarty (Richard Gere).
"I was born a poor black child..." -- Steve Martin, "The Jerk"
"God, I'm glad I'm not me." -- Bob Dylan, on reading an article about himself in 1965 (quoted in the press kit for Todd Haynes' movie, originally titled "I'm Not There: Suppositions on a Film Concerning Dylan")
Folk-turned-electric singer/songwriter Jude Quinn (looking for all the world like Bob Dylan circa 1965 and played by Cate Blanchett) is riding in a big black limousine when, unaccountably, Allen Ginsburg (David Cross) appears on a golf cart in the rear window, smiling and waving with his frizzy hair blowin' in the wind. Ginsburg pulls up alongside the limo, Quinn rolls down the window, and they travel along parallel trajectories (past a cemetary) while having a brief exchange about an interview Ginsburg had done with a reporter in which the Beat poet was asked about Quinn's musical motives as if all Voices of Their Generation were pretty much one and the same. "They asked you that?!?" Quinn laughs.
View image Arthur Rimbaud (Ben Whishaw) in "I'm Not There" in "Don't Look Back" in "Subterranean Homesick Blues" in black and white.
That's a little taste of what it's like to watch Haynes' "I'm Not There," which is not only a kaleidoscopic view of events in the life, music and myth of Bob Dylan, but a critical deconstruction and synthesis of Dylan's various media representations -- from D.A. Pennebaker's legendary "Don't Look Back" to Dylan's own "Reynaldo and Clara" to Martin Scorsese's "No Direction Home: Bob Dylan." In some ways, it's the natural companion to "Don't Look Back" (actually re-enacting some scenes and interviews from that documentary in a new context), the movie Dylan probably wanted "Reynaldo and Clara" to be, and in other ways the movie Haynes wanted "Velvet Goldmine" to be. It actually goes back inside these films (Peckinpah's "Pat Garrett and Billy the Kid," Richard Lester's "A Hard Day's Night" and "Petulia," Godard's "Masculin-Feminin," Fellini's "8 1/2" and others, too) -- and the old stories, the album covers, the liner notes, the newspaper and magazine clippings -- and recapitulates and reinterprets them in new contexts. I was thrilled by it, moved, dazzled, entranced. I love this movie.
View image Christian Bale (this guy can do anything) as Jack Rawlins.
The earlier film was about the glam era, freely mixing bits and pieces of fact and lore from the lives of David Bowie, Iggy Pop, Lou Reed, Brian Ferry and others (don't forget Oscar Wilde, who is deposited on earth by a UFO), and that's the kind of thing Haynes is up to here -- mostly with Dylan, but also with "real" and fictional characters around him. Some are identified by their familiar names (like John, Paul, George, and Ringo), some are thinly disguised (or undisguised) stand-ins. And this time he has the music rights, too. Just about the only thing missing is Donovan.
View image Robbie Clark (Heath Ledger).
Do you have to know about, or have lived through, the life and legend of Dylan to "get" this film? I don't know. I don't think so, but you'll certainly understand it on more levels if you've seen the Pennebaker, Dylan & Sam Shepard, Scorsese, Peckinpah, Godard, Lester, Fellini, et al. movies mentioned above. And if you know at least some of the music, and something about the 1960s Greenwich Village folk scene and the war in Vietnam and the Buddhist monks who immolated themselves in protest and Joan Baez (and "Diamonds and Rust") and Sara and Swinging London and the Beats and Albert Goldman and The Hawks (and The Band) and The Basement Tapes and the Rolling Thunder Revue and "Tarantula" and Columbia Records and the motorcycle accident and the "electric" debut at the Newport Folk Festival and the so-called "Royal Albert Hall" concert in 1966 ("Judas!" "I don't believe you...") which actually took place at Manchester's Free Trade Hall (just another part of the legend) and Elvis Presley movies and James Dean movies Marlon Brando movies and Montgomery Clift movies... and so on.
View image Jude Quinn (Almighty).
I was a senior in high school when "Blood on the Tracks" came out and utterly changed my life (not the first time Dylan would do that for me), so although most of '60s Dylan predated my awareness of his actual records (we sang "Blowin' in the Wind" in my fourth grade homeroom, with Miss Kwinsland on ukelele, but I didn't know it was a Dylan song; we sang Woody Guthrie tunes, too), I absorbed a lot of this stuff simply by being a young American with an interest in politics and art and pop culture. But do you have to be familiar with all of this in order to appreciate "I'm Not There"? I don't think so. (But consider this: Bruce Greenwood plays Quinn's BBC interviewer/adversary, Mr. Jones, and Pat Garrett.)
A Dylanophile friend was asked if he was in "Dylan heaven" after the film. He thought for a moment and then said, "Yeah. I guess I am." I don't know about that. But I'm at least knockin' on heaven's door.
That's all I'll say for now, because I'm salivating over the prospect of seeing and writing about this movie in more detail later....
Oh, just one other thing. I've talked to five or six people who, unprovoked, described exactly the same response to different moments in the movie. But they all involved having the experience of consciously thinking: "I am in love with Cate Blanchett."
Ebert's Best Film Lists1967 - present
Pieces of time. That's what the movies have been called. Usually they begin with the first piece and continue with the second piece, onward to the inevitable conclusion. But currently there's a small group of filmmakers who don't think that way. They shuffle the deck. You can't put all the pieces together until the movie is over. It's challenging, and it can be fun.