A snapshot of the struggle between labor and management that is both timeless and distinctly of its time.
* 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 Look back at the origins of Ebertfest twenty years ago and a look forward to Ebertfest 2018.
18 noir films, all in 35mm, will screen at Chicago's Music Box Theater from Friday, August 25 through Thursday, August 31.
A preview of the Gene Siskel Film Center's upcoming Brit Noir film series, which runs from November 5-30.
The latest and greatest on Blu-ray, including Popstar, Neighbors 2, Captain America: Civil War, Blood Simple, Cat People and many more.
Our intrepid savior of cinema's underrated films turns his eye to Francis Ford Coppola's most personal film.
An excerpt from the July 2016 issue of Bright Wall/Dark Room about Steven Spielberg and "Empire of the Sun."
An Ebertfest 2016 interview with legendary script supervisor Angela Allen by Ebert Fellow Riane Lenzner-White.
A report on day two of Ebertfest with recaps and videos of Q&As after "Grandma," "Northfork" and "The Third Man."
A film-by-film preview of Ebertfest 2016, which runs from April 13 - 17.
A preview of Ebertfest 2016 and the first Ebert Humanitarian Award
Five new titles announced for Ebertfest 2016.
On the look and sound of "The Third Man."
Roger Ebert's essay on film in the 1978 edition of the Britannica publication, "The Great Ideas Today."
Marie writes: As the dog days of summer slowly creep towards September and Toronto starts getting ready for TIFF 2013, bringing with it the promise of unique and interesting foreign films, it brought to mind an old favorite, namely The Red Balloon; a thirty-four minute short which follows the adventures of a young boy who one day finds a sentient red balloon. Filmed in the Menilmontant neighborhood of Paris and directed by French filmmaker Albert Lamorisse, The Red Balloon went on to win numerous awards and has since become a much-beloved Children's Classic.
Marie writes: The West Coast is currently experiencing a heat wave and I have no air conditioning. That said, and despite it currently being 80F inside my apartment, at least the humidity is low. Although not so low, that I don't have a fan on my desk and big glass of ice tea at the ready. My apartment thankfully faces East and thus enjoys the shade after the sun has crossed the mid-point overhead. And albeit perverse in its irony, it's because it has been so hot lately that I've been in the mood to watch the following film again and which I highly recommend to anyone with taste and a discerning eye.
OK, this is where it really gets interesting. Forget the consensus Top 50 Greatest Movies of All Time; let's get personal. Sight & Sound has now published the top 250 titles in its 2012 international critics poll, the full list of more than 2,000 movies mentioned, and all the individual lists of the 845 participating critics, academics, archivists and programmers, along with any accompanying remarks they submitted. I find this to be the most captivating aspect of the survey, because it reminds us of so many terrific movies we may have forgotten about, or never even heard of. If you want to seek out surprising, rewarding movies, this is a terrific place to start looking. For the past few days I've been taking various slices at the "data" trying to find statistical patterns, and to glean from the wealth of titles some treasures I'd like to heartily recommend -- and either re-watch or catch up with myself.
I know we're supposed to consider the S&S poll a feature film "canon" -- a historically influential decennial event since 1952, but just one of many. I don't disagree with Greg Ferrara at TCM's Movie Morlocks ("Ranking the Greats: Please Make it Stop") when he says that limiting ballots to ten all-time "best" (or "favorite," "significant," "influential" titles is incredibly limiting. That's why I think perusing at the critics' personal lists, the Top 250 (cited by seven critics or more) and the full list of 2,045 films mentioned is more enjoyable pastime.
It's wise to remember that, although the top of the poll may at first glance look relatively conservative or traditional, there's a tremendous diversity in the individual lists. Even the top vote-getter, "Vertigo," was chosen by less than one quarter of the participants.
Marie writes: behold the power of words, the pen mightier than the sword.
Marie writes: Did you know that the world's steepest roller-coaster is the Takabisha, which opened earlier this year at the Fuji-Q Highland Amusement Park in Yamanash, Japan? The ride lasts just 112 seconds but is packed with exciting features including seven twists, blackened tunnels and a 43m-high peak. But the most impressive thing about Takabisha is the 121 degree free-fall, so steep that it's been recognized by the Guinness World Records as the steepest roller-coaster made from steel!
So, did you like what you got for Christmas..?
Post World War II British Cinema was one of the richest periods in film history. Finally free from budget and stylistic constraints saddled during wartime, some of the greatest filmmaking talent the filmdom had arisen. John and Roy Boulting, David Lean, Laurence Olivier, and Carol Reed were just a few of the notables whose directorial prowess had struck the scene. But a pair which was the period's most prolific was Michael Powell and Emeric Pressburger; The Archers.
Click above to REALLY enlarge...
UPDATED 01/28/10: 2:25 p.m. PST -- COMPLETED!: Thanks for all the detective work -- and special thanks to Christopher Stangl and Srikanth Srinivasan himself for their comprehensive efforts at filling the last few holes! Now I have to go read about who some of these experimental filmmakers are. I did find some Craig Baldwin movies on Netflix, actually...
Srikanth Srinivasan of Bangalore writes one of the most impressive movie blogs on the web: The Seventh Art. I don't remember how I happened upon it last week, but wow am I glad I did. Dig into his exploration of connections between Quentin Tarantino's "Inglourious Basterds" and Jean-Luc Godard's "History of Cinema." Or check out his piece on James Benning's 1986 "Landscape Suicide." There's a lot to look through, divided into sections for Hollywood and World Cinema.
In the section called "The Cinemaniac... I found the above collage (mosaic?) of mostly-famous faces belonging to film directors, which Srikanth says he assembled from thumbnails at Senses of Cinema. Many of them looked quite familiar to me, and if I'm not mistaken they were among the biographical portraits we used in the multimedia CD-ROM movie encyclopedia Microsoft Cinemania, which I edited from 1994 to 1998, first on disc, then also on the web. (Anybody with a copy of Cinemania able to confirm that? My Mac copy of Cinemania97 won't run on Snow Leopard.)
"Awake in the Dark: The Best of Roger Ebert," just published by the University of Chicago Press, achieves a first. Though the Sun-Times film critic remains the dean of American cineastes, his essential writings have never been collected in a single volume until now. "Awake in the Dark" surveys his 40-year catalog, including reviews, essays and interviews. The following is an excerpt from the book's introduction, and for the next five weeks we'll publish excerpts here from the collection's highlights in each decade, from the '60s to the '00s.
EXCERPT FROM INTRO: This isn't like Roger Ebert's "Great Movies" series. It's not my idea of The Best Movies Ever Made (that would be a different list, though there's some overlap here), or limited to my personal favorites or my estimation of the most important or influential films. These are the movies I just kind of figure everybody ought to have seen in order to have any sort of informed discussion about movies. They're the common cultural currency of our time, the basic cinematic texts that everyone should know, at minimum, to be somewhat "movie-literate." I hope these movies are experiences we can all assume we share.
Q. "The X Files" obviously took place in summer, as evidenced by the complaints about the heat in Dallas, the lack of overcoats in Washington, D.C., the corn crops, and the copious sweat in all locations. Therefore, the sun should not have been brightly shining in Antarctica. That continent should have been in the middle of its dark and stormy winter. (Denise Leder, Las Vegas)
The Festival International du Film, held annually in Cannes, France, has become the world's most prestigious film festival—the spot on the beach where the newest films from the world's top directors compete for both publicity and awards.