Seeing Lopez’s best screen work since her early heyday of Selena and Out of Sight isn’t the only reason to check out writer/director Lorene Scafaria’s…
* 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 piece on the last art of the talky 'chick flick' of the '90s.
The ten best films of 2018, according to Glenn Kenny.
The movie questionnaire and 2015 reviews of RogerEbert.com film critic Peter Sobczynski.
Ben Kenigsberg reviews Philippe Garrel's "In the Shadow of Women," which opened Directors' Fortnight.
A preview of the 2015 EU Film Festival at the Siskel Film Center in Chicago.
On June 21, 2014, “Life Itself” opened the Hamptons Film Festival at Guild Hall in East Hampton, New York. RogerEbert.com publisher Chaz Ebert and editor-in-chief Matt Zoller Seitz were guests at the event and participated in a post-screening Q&A with Alec Baldwin and Hamptons Film Festival artistic director David Nugent afterward.
Writer Peter Sobczynski responds to our Movie Love Questionnaire.
Some of our contributors muse on pies in the movies. Yes, you read that right.
Karen Black, who died Aug. 7 at 74, was the “what the hell?” emblem of the American New Wave, its most extreme, improvisational player, its most unusual, unaccountable, unstable presence.
Part I (before I saw "Trash Humpers")
Google "Netflix" and "Trash Humpers" and the first result you'll get is this: Netflix - Watch Trash Humpers. The second result (dated October 20, 2010) is an article from Filmmaker Magazine headlined: "'Trash Humpers' too trashy for Netflix?" Note that the head is in the form of a question, because the article/post itself consists almost entirely of a promotional announcement from Drag City, the DVD distributor of "Trash Humpers," claiming that Netflix was refusing to carry the video, which (according to Amazon.com) was officially released September 21, 2010.
The press release was a useful publicity stunt (what do you expect for a Harmony Korine movie called "Trash Humpers"?), but how much truth it contained I haven't been able to determine, and I haven't been able to find any comments from anyone at Netflix. In its widely reprinted (but evidently unquestioned) October manifesto, Drag City said:
... Netflix has deemed the content of Trash Humpers to be too inappropriate for their subscribers to make it available to them. From their perspective, they may be right: they certainly know their subscribers and their tastes, and might have a better awareness of their breaking point (we thought that might have been fuckin' Avatar). So it's hard to fault them. But we do love a challenge! We don't expect Netflix to carry anything they don't want to, for whatever reason, but it reminds us that this is the price paid when we allow one entity to control the lion's-share of content distribution.
Drag City provided a link to "actual factual mom-and-pop DVD sales-and/or-rental stores" that were carrying "Trash Humpers," including Amazon.com, Newbury Comics and Amoeba.
I believe Kevin Smith has said all this before, but now he's got another movie to promote (called "Red State," due in 2011), so he's evidently saying it again. WorstPreviews.com reports that Smith is "taking to Twitter and radio" with this message:
Smith says that he doesn't hate critics, but simply disagrees with the fact that they get to see movies for free in order to write a review. His argument is that critics are just doing their jobs and sometimes don't want to see a certain movie, which means that they probably go into the theater hating it. He adds that he would rather show his movies to 100 fans and let them write reviews even if they don't have a newspaper.
Makes sense to me. Smith would prefer to have his movies reviewed by his fans -- those who've seen his other movies and who are predisposed to like them -- rather than by critics who have seen his other movies and therefore may be predisposed to not like them, so that sounds like a good proposition for him. (And I agree he should let the fans write reviews even if they don't have a newspaper, or a blog or a keyboard or a napkin and a Bic.) Not screening his movies for critics (or making them pay) also sounds like a pretty good deal for the critics who don't want to see or write about his work. They could watch or write about something else instead -- and not have to worry about all the ethical dilemmas involved in paying or not paying to see a Kevin Smith movie. The world would be a cleaner and more orderly place.
Actress Jill Clayburgh, whose portrayal of women in the 1970s helped define and and reshape the role of leading lady, died last week of chronic lymphocytic leukemia at her home in Lakeville, Connecticut; she was 66. She's best known for her Academy Award nominated roles in "An Unmarried Woman" (Winner: Best Actress Cannes 1978) and "Starting Over." Roger has remembered her on his site: Jill Clayburgh: In Memory.
Richard Schickel wrote a book review of Robert Altman: The Oral Biography by Mitchell Zuckoff. Except that, rather than review the book, he chose to review Robert Altman's capacity for drinking and dope-smoking:
It appears that from the beginning of his career until almost its end (when illness slowed him), Robert Altman never passed an entirely sober day in his life. When he was not drinking heavily, he was smoking dope -- often doing both simultaneously. When he screened dailies on location, he insisted the cast and crew gather to view them in a party atmosphere, with the merriment rolling on into the night.
Shocking, isn't it?
Check back for Roger Ebert's dispatches from the 58th Festival de Cannes, May 11 - 22, 2005.
Ebert's Best Film Lists1967 - present
In the autumn march of film festivals, Chicago's comes after Montreal, Telluride and Venice, and is held at about the same time as New York. All of these festivals are essentially fishing in the same pond, so the remarkable thing about the 31st annual Chicago event is how many new or unfamiliar titles have been discovered.
Fifty years ago this year, Orson Welles had made what would eventually become known as the greatest movie of all time. But he was having trouble getting it released.