Glass
Glass is a misfire, and it’s the kind of depressing misfire that hurts even more given what it could have been.
Gordon Douglas
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Lady in Cement (1968)
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Directed by
Roger Ebert -
The Detective (1968)
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Directed by
Roger Ebert -
Tony Rome (1967)
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Directed by
Roger Ebert -
Chuka (1967)
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Directed by
Roger Ebert -
In Like Flint (1967)
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Directed by
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.
Blu-ray Consumer Guide: May 2014
May 2014 Blu-rays of note.
Great Comic Book Movies Not Based On Comics
A history of movies not directly based on comic books but definitely inspired by them.
#149 January 2, 2013
Happy New Year from the Ebert Club!TRAILERS
#98 January 18, 2012
Marie writes: Okay, this is just plain cool. This is clearly someone using their brain, in combination with "what the hell, let's just go ahead and try it..."
Dr Julius Neubronner's Miniature Pigeon CameraIn 1903, Dr Julius Neubronner patented a miniature pigeon camera activated by a timing mechanism. The invention brought him international notability after he presented it at international expositions in Dresden, Frankfurt and Paris in 1909-1911. Spectators in Dresden could watch the arrival of the camera-equipped carrier pigeons, whereupon the photos were immediately developed and turned into postcards which could be purchased. (click images to enlarge.) - from The Public Domain Review. Visit the site to see even more photos.
"This is where we came in..."
I grew up in a time (the 1960s and 1970s) when commercial, technological and artistic conventions accustomed us to listening to music on LPs and watching movies in theaters. For the most part, we listened to one side of an album at a time (eventually, CDs -- although more easily programmable -- would play 70+ minutes of uninterrupted music, which changed song-sequencing priorities). And we saw movies from start to finish. I'm too young to remember the original ad campaign for Alfred Hitchcock's "Psycho" in 1960, but later on (when I got my hands on some original lobby cards -- those were the 11"x14" images displayed with the posters at the entrances or in the lobbies of theaters) I noticed it was built around the apparently novel pitch that audiences had to see the movie from the start.
Now, if, like me, you were in college (or university, as they say back East) when Alvy Singer (Woody Allen) in "Annie Hall" announced that he had to see a picture "exactly from the start to the finish," and you thought that made perfect sense, it seemed bizarre to imagine a time when people had to be encouraged to show up before the feature started: "No one... BUT NO ONE... will be admitted to the theatre after the start of each performance..." (It turns out Paramount had done something similar with Hitchcock's "Vertigo" just two years earlier: "It's a Hitchcock thriller... You should see it from the beginning!") As the proprietor of the Opening Shot Project, which emphasizes the importance of the first shot in setting up and framing certain films, the idea that somebody would watch a movie without having seen the beginning is incomprehensible to me. Why cheat yourself of the joys of discovery and development? Or just knowing what's going on in the story?
