Darkest Hour stands apart from more routine historical dramas.
* 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 New York Film Festival report on three Big Apple premieres.
An interview with the legendary Sam Schacht about the art of Method Acting.
An appreciation of Richard Schickel, Time magazine film critic and prolific film director and book author.
An interview with legendary Japanese actor Tatsuya Nakadai about "Sword of Doom" and his extensive career in film.
On how a sequel to "The Rocky Horror Picture Show" is frighteningly relevant today.
A report on the Museum of the Moving Image's Salute to Warren Beatty.
Why Viggo Mortensen is off the grid; How Netflix became Hollywood's frenemy; Ted Kotcheff on "First Blood"; Insomnia and philosophy; Bruce Dern at 80.
Roger's Favorites: actress Faye Dunaway.
How did we get here? Tracing the warnings from four American film classics about self-involved demagogues and their relations to the current GOP nominee for President.
A recap of the 2016 TCM Classic Film Festival.
Notes on "Killer of Sheep"; YouTube creators vs. copyright rules; Unsung pioneers of film editing; Phillip J. Bartell on "Miss You Already"; Martin Baron on "Spotlight."
An op-ed on how the decision to move the Lifetime Achievement Oscar off the telecast hurts us all.
Members of the RogerEbert.com film community remember the late Haskell Wexler.
An interview with director Kent Jones about his documentary "Hitchcock/Truffaut."
An in-depth look at the extraordinary film career of 100-year-old actor Norman Lloyd, currently starring in Judd Apatow's "Trainwreck."
The movie questionnaire and 2015 reviews of RogerEbert.com film critic Sheila O'Malley.
A reposting of Godfrey Cheshire's landmark essay in anticipation of the Critic's Forum at Ebertfest.
Remembering Mike Nichols; Kathryn Bigelow's experimental short; The rational wonders of Christopher Nolan; Interviewing Billy Wilder; RIP Leigh Chapman.
RogerEbert.com contributor Godfrey Cheshire's landmark two-part series "Death of Film/Decay of Cinema" anticipated many of the changes that would later shake the medium to its core.
An obituary for actor Eli Wallach.
May 2014 Blu-rays of note.
Writer Sheila O'Malley responds to our Movie Love Questionnaire.
Bruce Dern and Will Forte reminisce about their father-son road trip in Alexander Payne's "Nebraska."
• "The Outer Limits" (original series) is available on Netflix (DVD), Hulu Plus and Amazon Instant Video. • "In Cold Blood" is available on Netflix (DVD and Blu-ray) and Amazon Instant Video. • "Cool Hand Luke" is available on Netflix (DVD and Blu-ray) and Amazon Instant Video. • "American Beauty" is available on Netflix (DVD and Blu-ray) and Amazon Instant Video. • "Road to Perdition" is available on Netflix (DVD and Blu-ray).
by Jeff Shannon Eyes Wide Open: A Single Artist's Vision
Ask anyone who's devoted their life to the study and appreciation of movies and they can probably tell you exactly when they were "bitten by the movie bug," that moment of personal epiphany that sparked an all-consuming passion for what is arguably the greatest, most powerful medium of artistic expression.
In my case, it was Stanley Kubrick's "2001: A Space Odyssey" that literally changed my life. That's an influential milestone I share with many cinephiles who came of age in the 1950s and '60s, especially those "movie brats" (among them James Cameron, George Lucas and Steven Spielberg) who were drawn to imaginative visions of the future. Because I'd spent most of my childhood outdoors or casually enjoying Disney films and other kid-friendly fare, I didn't see Kubrick's visionary masterpiece until it played a return engagement at Seattle's glorious Cinerama Theater, in 1971, when I was nine years old.
(With its huge, curved Cinerama screen, the Cinerama is still the only theater in Seattle capable of showing "2001" as Kubrick intended. It exclusively hosted the film's original 77-week Seattle run beginning in April 1968, and the fully restored 70-millimeter print of "2001" had its world premiere there, appropriately enough, in 2001, two years after the aging cinema was purchased and beautifully renovated by Microsoft co-founder Paul Allen. It's now one of only three theaters in the world -- along with the Cinerama Dome in Los Angeles and the Pictureville Cinema in Bradford England -- equipped to exhibit three-panel Cinerama, requiring three synchronized projectors for the only seven films created in the three-strip Cinerama process, including 1956's "This Is Cinerama" and 1962's "How the West Was Won." Starting this week [Sept. 30th] and running through mid-October, Seattle's Cinerama is hosting a "70mm Festival" of 15 films, including "2001," that originally premiered there.)
Like no other film before it, "2001" opened my eyes to the power of a single artist's vision and led me to understand the supremacy of a great director. I didn't know it then, but I'd discovered the basis of auteur theory, and while it would be foolish to deny that film is (to echo that award-acceptance cliché) the most collaborative of all art forms, it's no contradiction to embrace the Kubrick quote that greets all visitors to kubrickfilms.com, Warner Bros.' authorized Kubrick website: "One man writes a novel. One man writes a symphony. It is essential for one man to make a film." (Disregard "man"; Kubrick would've been the first to include female filmmakers in his statement.)
Elia Kazan's "On the Waterfront" has been discussed endlessly by film fans, critics and film historians. It's easy to see why, for "On the Waterfront" can be studied from various perspectives. On the one hand the film reflects a time in history when some Americans named names before the House of Un-American Activities Committee much like Terry Malloy does in court. It has also been argued to be Kazan's answer to Arthur Miller's play "The Crucible" or his redemption and justification for falling victim of Joseph McCarthy's witch-hunt of the 1950's.