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About Last Night (2014)
Phil Spector (2013)
Redbelt (2008)
Spartan (2004)
Heist (2001)
Lakeboat (2001)
Hannibal (2001)
State and Main (2000)
Wag the Dog (1998)
The Edge (1997)
Oleanna (1994)
Hoffa (1992)
Homicide (1991)
Things Change (1988)
House of Games (1987)

Blog Posts

Ebert Club

#186 September 25, 2013

Sheila writes: Todd Sanders is a self-taught neon sign artist. Roadhouse Relics, the gallery of his work in Austin, Texas, is filled with his beautiful vintage-inspired signs. His designs are all hand-drawn. He collects old magazines from the 1920s, 1930s, etc., to get inspiration for his neon signs. He does custom signs as well. You can check out Sanders' work, bio, and press kit at Roadhouse Relics. Neon brings up all kinds of automatic images and associations: seedy hotels, burlesque joints, cocktail bars. His signs evoke those images, but much more. For instance, look at his beautiful "Fireflies In a Mason Jar".

Features

Thumbnails 9/17

Mamet's screenwriting career, the hours after John F. Kennedy's assassination in detail, why creatives are good for the economy, how Facebook keeps you from quitting, the political economy of zombies.

Ebert Club

#108 March 28, 2012

Marie writes: As you know, I tend to avoid filling the Newsletter with cute animal photos - but that's only because a little goes a long way and it's easy to overdose. Indeed; many an otherwise healthy mind has been wiped clean of any trace of dark humor after staring too long at puppies and kittens. That said, every now and again I think it's safe to look at adorable images like this...

(click to enlarge)

Ebert Club

#99 January 25, 2012

Marie writes: many simply know her as the girl with the black helmet. Mary Louise Brooks (1906 - 1985), aka Louise Brooks, an American dancer, model, showgirl and silent film actress famous for her bobbed haircut and sex appeal. To cinefiles, she's best remembered for her three starring roles in Pandora's Box (1929) and Diary of a Lost Girl (1929) directed by G. W. Pabst, and Prix de Beauté (1930) by Augusto Genina. She starred in 17 silent films (many lost) and later authored a memoir, Lulu in Hollywood."She regards us from the screen as if the screen were not there; she casts away the artifice of film and invites us to play with her." - Roger, from his review of the silent classic Pandor's Box.

Roger Ebert

The best documentaries of 2011

Why not fold documentaries into my list of the "Best Films of 2011?" After all, a movie is a movie, right? Yes, and some years I've thrown them all into the same mixture. But all of these year-end Best lists serve one useful purpose: They tell you about good movies you may not have seen or heard about. The more films on my list that aren't on yours, the better job I've done.

That's particularly true were you to depend on the "short list" released by the Academy's Documentary Branch of 15 films they deem eligible for nomination. The branch has been through turmoil in the past and its procedures were "reformed" at one point. But this year it has made a particularly scandalous sin of

Far Flungers

The Boulevard of Broken Manhood

I have long had trouble enjoying live sporting events, concerts, and stage shows for three reasons. First, I would tire from watching the show from one single angle. Conditioned by movies, I need the variety of angles, the intimacy of close-ups and the sweep of tracking shots. Second, live events will never have the polish of a polished movie. And, third, (more applicable to large stage shows) the dialogue is always too enunciated and thus distant, even when it is "realistic."

May contain spoilers

Ebert Club

#14 June 9, 2010

From the Grand Poobah: Our Far-Flung Correspondent Gerardo Valero writes: During Ebertfest, Monica and I were able to shoot a few videos which I downloaded in you tube and which I think you all may enjoy. Since she was the one to shoot most of the panel videos; they mostly consist of my own participation but there's plenty of stuff for everybody (our multiple presentations, dinner at the Green Room and what have you) I apologize in advance for the quality of the material. I tell Monica she would be fired from filming a Bourne movie because her cinematography is too shaky. Go HERE to see all the videos.Marie writes: this one is my favorite!  Roger and Chaz at Stake n' Shake!

Interviews

How did Ricky Jay DO that?

I went to see Ricky Jay's new show, "Rogue's Gallery," at the Royal George. I've seen him more than once before, so I was prepared for an astonishing show. He's one of the great card manipulators of all time, and he outdid himself.

Roger Ebert

Parrot asks, "What'd the frozen turkey want?"

A joke should have the perfection of a haiku. Not one extra word. No wrong words. It should seem to have been discovered in its absolute form rather than created. The weight of the meaning should be at the end. The earlier words should prepare for the shift of the meaning. The ending must have absolute finality. It should present a world view only revealed at the last moment. Like knife-throwing, joke-telling should never be practiced except by experts.

For many laymen, a joke is a heavenly gift allowing them to monopolize your attention although they lack all ability as an entertainer. You can tell this because they start off grinning and grin the whole way through. They're so pleased with themselves. Their grins are telling you they're funny and their joke is funny. The expert knows not to betray the slightest emotion. The expert is reciting a fact. There is nothing to be done about it. The fact insists on a world that is different than you thought. The fact is surprising and ironic. It is also surprising--you mustn't see it coming. That's why the teller should not grin. His face shouldn't tell you it's coming. If the joke is also vulgar, so much the better, but it must never exist for the sake of vulgarity. That's why "The Aristocrats" is not only the most offensive joke in the world, but also, in the wrong hands, the most boring.