A mostly pleasant surprise in a year that has produced a lack of stellar animated outings.
* 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.
The 2017 nominees for the Chicago Film Critics Association.
Jennifer Reeder on "Signature Move"; Harry Dean Stanton on "Lucky"; Jen Richards on transgender opportunities in film; Michelle Pfeiffer steals "mother!"; Blame movie theaters.
An interview with director John Carroll Lynch about his Harry Dean Stanton film, "Lucky."
Matt writes: The 2017 Toronto International Film Festival just wrapped this past weekend, and screened an enormous array of enticing titles set for release this awards season. Click here for our complete festival coverage, including dispatches from Chaz Ebert, Brian Tallerico, Tina Hassannia, Vikram Murthi and Nick Allen.
The staff pays tribute to Harry Dean Stanton.
A tribute to the legendary Harry Dean Stanton.
An article about the TIFF Ebert Tribute Luncheon honoring Wim Wenders on Sunday, September 10th.
The great playwright and screen actor leaves behind a legacy of introspective, fascinating work, much of it having to do with America's self-image.
Matt writes: The 2017 Cannes Film Festival is nearly here! It will run from May 17th through the 28th, and RogerEbert.com will be providing in-depth coverage every step of the way, including our annual video reports from publisher Chaz Ebert. This year's selections include the latest work from such acclaimed filmmakers as Noah Baumbach, Sofia Coppola, Michael Haneke, Michel Hazanavicius, Todd Haynes, Bong Joon Ho, Yorgos Lanthimos and Lynne Ramsay.
A preview of the 5th Chicago Critics Film Festival, which runs from May 12-18 at the Music Box Theater.
A celebration of director David Lynch's filmography in anticipation of an upcoming retrospective at the IFC Center in New York.
A review of three premieres from the 2017 South by Southwest Film Festival.
A celebration of the great actress Charlotte Rampling, currently seen in "45 Years" and soon a retrospective at New York City's IFC Center.
Sheila writes: Quentin Tarantino's films are often tributes to other films, to other genres, to actors who have made their marks in the past. He loves it all, he has enthusiasm for all. Here, in this really fun Press Play video, Tarantino's visual references to other films are made explicit, shot for shot.
Brando's A-list acting school; Sex, death and Kubrick; Five Wallace essays you must read; Gendering of martyrdom; Hackers can disable a sniper rifle.
Sheila writes: John Lennon kept a sketchbook throughout his life, filled with little drawings and doodles, and in 1986 Yoko Ono commissioned Oscar-winning animator John Canemaker to make them into a short film. The short film, "The John Lennon Sketchbook" hit Youtube officially on May 15 of this year. The images are accompanied by audio recordings of John and Yoko talking about their relationship, bantering and joking. It's lovely. You can watch the film below.
A guide to the latest Blu-ray, VOD, and streaming options, including "Fifty Shades of Grey," "American Sniper," and "Blackhat".
An appreciation of Nastassja Kinski, on the occasion of a tribute to her at the Film Society at Lincoln Center from November 27-December 3, 2014.
An appreciation of filmmaker, writer and actor L.M. "Kit" Carson, a singular talent.
Gerardo Valero sees the potential for a good remake in "Escape from New York."
The New York Times' David Carr admits that Glenn Greenwald is a journalist; Criterion Collection appreciates Alex Cox's Repo Man; poets go to the movies; James Franco's never-ending navel-gaze; David Edelstein dismantles The Way, Way Back; Kerry Washington on the cover of Vanity Fair; Dennis Hopper documentary.
Marie writes: As some of you may have heard, a fireball lit up the skies over Russia on February 15, 2013 when a meteoroid entered Earth's atmosphere. Around the same time, I was outside with my spiffy new digital camera - the Canon PowerShot SX260 HS. And albeit small, it's got a built-in 20x zoom lens. I was actually able to photograph the surface of the moon!
(click to enlarge)
The visceral impact that Ridley Scott's "Alien" had in 1979 can never quite be recaptured, partly because so many movies have adapted elements of its premise, design and effects over the last three decades -- from John Carpenter's remake of "The Thing" (1982) to David Cronenberg's remake of "The Fly" (1986) to "Species" (1998) and "Splice" (2009). No movie had ever looked like this. And it still works tremendously -- but let me tell you, in 1979 a major studio science-fiction/horror film that hinted darkly of interspecies rape and impregnation was unspeakably disturbing. (It got under my skin and has stayed there. We have a symbiotic relationship, this burrowing movie parasite and I. We nourish each other. I don't think Ridley Scott has even come close to birthing as subversive and compelling a creation since.)
The thing is, the filmmakers actually took out the grisly details involving just what that H.R. Giger " xenomorph" did to and with human bodies (the sequels got more graphic), but in some ways that made the horror all the more unsettling. You knew, but you didn't know. It wasn't explicitly articulated. Dallas (Tom Skerrit) just disappears from the movie. The deleted "cocoon" scene (with the haunting moan, "Kill me...") appeared later on a LaserDisc version of the film, and then was incorporated into the 2003 theatrical re-release for the first time. The deleted footage:
"No good movie is long enough and no bad movie is short enough". As much truth as this phrase carries it is also a fact that editing choices greatly influence a film's outcome. One of the best examples to illustrate this point is Guisseppe Tornatore's "Cinema Paradiso" which was released in 1990 as a 124 minute gem that won Best Foreign Film at the Academy Awards and the unconditional love of everyone I've ever discussed it with. Further, it made no sense to learn that a much longer version of the film had been released in Italy a couple of years before to mediocre reviews and box-office results. How could material this good ever be ignored? The answer came years later in a single viewing of one of those DVD editions that includes the complete 173 minute version. As strange as this sounds, I believe that the butchering of Director Tornatore's original 1988 vision saved his film from utter mediocrity, and took it to an all together higher level.