Avengers: Infinity War
A good movie that buckles beneath the weight of its responsibilities to the franchise.
Cameron Mitchell
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Hombre (1967)
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Braden
Roger Ebert
* 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.
"Get Out," "Call Me by Your Name" Win Big at 2017 Gotham Awards
Tomris Laffly reports on the night that kicked off the 2017 award season.
#313 October 17, 2017
Matt writes: Annette Insdorf's new book, Cinematic Overtures: How to Read Opening Scenes, will be released next month by the Columbia University Press.
Cannes 2017: "How to Talk to Girls at Parties" and "Napalm"
John Cameron Mitchell explains "How to Talk to Girls at Parties." Claude Lanzmann remembers the time he talked to a (Communist) Party girl.
Existential Westerns: Criterion Editions of "The Shooting," "Ride in the Whirlwind"
The best feature films of 2010
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 Best Films of 2010
The year's best feature films:
#40 December 8, 2010
From the Big Kahuna: Yes, this is the front of the Virginia Theater in Champaign-Urbana, where Ebertfest is held every year. The old marquee was showing its age, and will be replaced by the time Ebertfest 2011 is held on April 27-30. Update: I read in the Champaign-Urbana News-Gazette that the new marquee is still in design, but park officials expect it to be a better complement to the theater's Italian Renaissance-style architecture and resemble the 1921 original marquee. When concepts are finalized, they will go before the park board for approval.
My scene with Kristofferson
We have in the past examined my stunning and unforgettable cameo appearance in David Mamet's 1987 directorial debut feature "House of Games." What you may not know is that I also co-starred with Kris Kristofferson, Keith Carradine, Genevieve Bujold, Lori Singer, Joe Morton and Divine in Alan Rudolph's 1986 "Trouble in Mind," which was also shot in Seattle. Well, OK, I appeared in the background of a few shots. But I did share screen space with Singer ("Footloose," "Short Cuts") -- and Kristofferson, for at least a few 24 fps frames. As you can see above.
Here's the behind-the-scenes set-up: I was having the time of my life booking first-run "art films" at my friend Ann Browder's 250-seat Market Theater, formerly the Pike Place Cinema in the cobblestone Lower Post Alley in Seattle's historic Pike Place Farmer's Market. I can't remember how I had met Alan Rudolph, but I had interviewed him a few times and he had the world premiere his first film, "Welcome to L.A." (1977) in Seattle at the Harvard Exit Theater. (Robert Altman made one of his many trips to Seattle for that premiere, and hosted the world premiere of "3 Women" at the same theater.) "Choose Me" had also been a smash at the Seattle International Film Festival, of which I was a co-director/programmer. Anyway, this all comes together, trust me...
Ebert's 2006 summer/fall round-up
Film festivals allow you to get way ahead on your movie viewing. At Sundance, Cannes, Telluride and Toronto you can see movies that will be released throughout the coming year and into the next. That's what Roger Ebert does every year, and here are some of the movies he's already written about for the next few months, into November....
Cannes #5: Luster & its lack
CANNES, France – There are entries that have been liked and even loved, but the 2006 Cannes Film Festival reaches its halfway mark looking like a fairly lackluster year. Only Pedro Almodovar’s “Volver,” a high-spirited memory inspired by his childhood in La Mancha, has been embraced by critics and audiences. “Volver” means “to return,” and resembles in its exuberant nostalgia Fellini’s “Amarcord” (“I Remember”).
The golden age of Eastwood
Clint Eastwood looks more like Clint Eastwood than ever. The furnace of time has burned away everything that is not essential. He comes to Chicago for a lifetime achievement award and jokes about being 72, but he does not look young or old, only perfected.
Six from Sundance
PARK CITY, Utah -- A jilted transsexual, a city priest, a rock musician, a man with no memory, a Jewish anti-Semite and a headless chicken. Six movies ranging from good to great. After two more days at the Sundance Film Festival, I review my notes.
