In Memoriam 1942 – 2013 “Roger Ebert loved movies.”

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Widows

McQueen’s masterful film is the kind that works on multiple levels simultaneously—as pure pulp entertainment but also as a commentary on how often it feels…

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The Girl in the Spider's Web

The cinematic equivalent of a clip-on version of the nose ring that its central character famously sports throughout—a simulacrum that tries to evoke the edge…

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Ballad of Narayama

"The Ballad of Narayama" is a Japanese film of great beauty and elegant artifice, telling a story of startling cruelty. What a space it opens…

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* 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.

#180 August 14, 2013

by Marie Haws  |    | 

Marie writes: Much beloved and a never ending source of amusement, Simon's Cat is a popular animated cartoon series by the British animator Simon Tofield featuring a hungry house cat who uses increasingly heavy-handed tactics to get its owner to feed it. Hand-drawn using an A4-size Wacom Intuos 3 pen and tablet, Simon has revealed that his four cats - called Teddy, Hugh, Jess and Maisie - provide inspiration for the series, with Hugh being the primary inspiration. And there's now a new short titled "Suitcase". To view the complete collection to date, visit Simon's Cat at YouTube.

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#174 July 1, 2013

by Marie Haws  |    | 

Marie writes: The West Coast is currently experiencing a heat wave and I have no air conditioning. That said, and despite it currently being 80F inside my apartment, at least the humidity is low. Although not so low, that I don't have a fan on my desk and big glass of ice tea at the ready. My apartment thankfully faces East and thus enjoys the shade after the sun has crossed the mid-point overhead. And albeit perverse in its irony, it's because it has been so hot lately that I've been in the mood to watch the following film again and which I highly recommend to anyone with taste and a discerning eye.

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by The Editors  |    | 

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My mom, the criminal; two new books that want to be the next Lolita; heart disease cut in half, but we're not cheering; how to take care of your smartphone battery; remembering the actress Elizabeth Hartman; R. Crumb's rejected gay marriage New Yorker cover; the most popular movies outside the United States

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Toronto #2: Victory at any price?

by Roger Ebert  |    | 

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Ramin Bahrani, the best new American director of recent years, has until now focused on outsiders in this country: A pushcart operator from Pakistan, a Hispanic street orphan in New York, a cab driver from Senegal working in Winston-Salem. NC. His much-awaited new film, "At Any Price," is set in the Iowa heartland and is about two American icons: A family farmer and a race car driver. It plays Sunday and Monday in the Toronto Film Festival.

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Verdant Vertigo: Dreaming in Technicolor

by Jim Emerson  |    | 

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This appreciation is a slightly revised-for-2012 version of an article originally published online at Microsoft Cinemania in 1996. It was just one of several pieces in a package celebrating the 70mm restoration release of "Vertigo" that year.

Alfred Hitchcock's "Vertigo" is one of the most ravishing Technicolor films ever made -- all the more so in its VistaVision-to-70mm restored version. And color plays a key part in the mystery, emotion and psychology, of the film. Colors evoke feelings, and while Hitchcock liked to say that "Psycho" (made two years later) was "pure cinema" in black-and-white, "Vertigo" is a symphony of color, its multi-hued themes and motifs as vividly orchestrated as Bernard Herrmann's famous score.

I first saw "Vertigo" on network television in the late 1960s or early 70s, shortly before it was withdrawn from release. I think I was somewhere between 12 and 14 years old -- I know I saw it by myself on my parents' new 19-inch color TV one night when mom and dad went to some neighborhood grown-up party -- and I'm sure I didn't understand the half of it. But it stayed with me -- haunted me, you might say -- between that fateful evening and its re-release in the mid-80s. By then, "Vertigo" had become, if not quite the Holy Grail of the American Cinema (after all, "Rear Window" and "The Manchurian Candidate" had been unavailable for years, too -- and a great deal of "The Magnificent Ambersons" is still at the bottom of the ocean), then at least one of its most coveted (and fetishized) treasures.

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A few calm words about The List

by Roger Ebert  |    | 

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The king is dead. Long live the king. Welles' "Citizen Kane" has been dethroned from the Sight & Sound list of the greatest films of all time, and replaced by Hitchcock's "Vertigo." It's not as if nobody saw this coming. The list first appeared in 1952, and "Vertigo" (1958) made the list for the first time only in 1982. Climbing slowly, it placed five votes behind "Kane" in 2002. Although many moviegoers would probably rank "Psycho" or maybe "North by Northwest" as Hitch's best, for S&S types his film to beat was "Notorious" (1946). That's the one I voted for until I went through "Vertigo" a shot at a time at the University of Virginia, became persuaded of its greatness, and put it on my 2002 list.

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Shall we gather at the river?

by Roger Ebert  |    | 

The first time I saw him, he was striding toward me out of the burning Georgia sun, as helicopters landed behind him. His face was tanned a deep brown. He was wearing a combat helmet, an ammo belt, carrying a rifle, had a canteen on his hip, stood six feet four inches. He stuck out his hand and said, "John Wayne." That was not necessary.

Wayne died on June 11, 1979. Stomach cancer. "The Big C," he called it. He had lived for quite a while on one lung, and then the Big C came back. He was near death and he knew it when he walked out on stage at the 1979 Academy Awards to present Best Picture to "The Deer Hunter," a film he wouldn't have made. He looked frail, but he planted himself there and sounded like John Wayne.

John Wayne. When I was a kid, we said it as one word: Johnwayne. Like Marilynmonroe. His name was shorthand for heroism. All of his movies could have been titled "Walking Tall." Yet he wasn't a cruel and violent action hero. He was almost always a man doing his duty. Sometimes he was other than that, and he could be gentle, as in "The Quiet Man," or vulnerable, as in "The Shootist," or lonely and obsessed, as in "The Searchers," or tender with a baby, as in "3 Godfathers."

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