Us is another thrilling exploration of the past and oppression this country is still too afraid to bring up. Peele wants us to talk, and…
* 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 posthumous tribute to two male directors who encouraged audience identification with women onscreen and made opportunities for female film artists.
A tribute to Stanley Donen.
Anton Yelchin's parents speak out; 80th anniversary of "The Wizard of Oz"; R.I.P. Stephen Reinhardt; "Vice" and the creation of historical narratives; Aaron Sorkin on William Goldman.
Matt writes: In honor of the nominees being announced this morning for the 91st Academy Awards ceremony, let's analyze perhaps the most important "Oscar movie" of all time, "A Star Is Born." Bradley Cooper's awards contender is the fifth screen version of the story, and though it is a remarkable achievement in its own right, the best of them all still remains George Cukor's 1954 masterpiece starring Judy Garland in the greatest performance of her career.
An essay about the five screen versions of "A Star Is Born," and why George Cukor's 1954 masterpiece still reigns supreme.
The familiar story, told with a naturalistic sheen, strong songwriting, most of the old contrivances, and a few new ones.
Matt writes: In this final Ebert Club newsletter of the year, released to you on Christmas Day, we are sharing the RogerEbert.com staff's picks for the Top 10 Films of 2018.
Sheila O'Malley's ten best films of 2018.
An obituary for the one and only Jerry Lewis.
An interview with actress Gena Rowlands on the occasion of a John Cassavetes/Rowlands retrospective at NYC's Metrograph.
A report from the 2005 Cannes Film Festival.
A review of Woody Allen's new film, which just premiered at the 2016 Cannes Film Festival.
An article reflecting on 25 years at the movies by Roger Ebert.
A conversation with RogerEbert.com writers about their favorite animated films and programs.
A feature on Bing Crosby, including an interview with the director of a special "American Masters" about the legendary actor.
A preview of the 2014 Chicago International Film Festival.
The King of Comedy and Ms. 45; The one good Wayans brother movie; Looking back at the Richard Boone Show; Manny Farber and James Agee; A review of God's Not Dead.
A tribute to Mickey Rooney, 1920–2014.
Highlights of the 86th Annual Academy Awards.
The completion of our countdown of twelve great Chirstmas-set scenes from the movies. Check out #4–#1.
Susan Seidelman has been making films for over 30 years. Her work includes "Desperately Seeking Susan," the pilot for "Sex and the City," and her new sports comedy "The Hot Flashes." Her story is the story of women in Hollywood: a study in creativity, courage and strength. A profile by RogerEbert.com's Christy Lemire.
Marie writes: If you're like me, you enjoy the convenience of email while lamenting the lost romance of ink and pen on paper. For while it's possible to attach a drawing, it's not the same thing as receiving hand-drawn artwork in the mail. Especially when it's from Edward Gorey..."Edward Gorey and Peter Neumeyer met in the summer of 1968. Gorey had been contracted by Addison-Wesley to illustrate "Donald and the...", a children's story written by Neumeyer. On their first encounter, Neumeyer managed to dislocate Gorey's shoulder when he grabbed his arm to keep him from falling into the ocean. In a hospital waiting room, they pored over Gorey's drawings for the first time together, and Gorey infused the situation with much hilarity. This was the beginning of an invigorating friendship, fueled by a wealth of letters and postcards that sped between the two men through the fall of 1969."
The notion of a Christmas Show by John Waters is somehow alarming, as if the Big Bad Wolf had decided to perform as the Easter Bunny. Waters has made a career of cheerfully exploiting the transgressive and offensive. When he appears at the Harris Theater at 7:30 p.m. on Dec. 14, he promises to discuss such questions as whether Santa Claus is erotic, whether it's a gay holiday, and why stars on Christmas tours always seemed to go crazy onstage when they get to Baltimore.
This free Newsletter is a sample of what members receive weekly.For Roger's invitation to the Club, go HERE Marie writes: some of you may recall seeing a custom-built "steampunk" microphone stand made for the group Three Days Grace, by sculptor Christopher Conte; there were pictures of it inside the #14 Newsletter.Born in Norway, Christopher Conte was raised and educated in New York, where he currently lives. After earning a Bachelors Degree in Fine Art, he began working in the prosthetics field making artificial limbs for amputees; which he did for 16 years as a Certified Prosthetist. At the same time, he worked in obscurity creating sculptures which reflected his love for biomechanics, anatomy and robotics. In June 2008, he left the field to begin his career as a full-time artist. And you can now view his work portfolio online...
The Sculpture of Christopher Conte
I met her so very long ago, in 1967 "You get all kinds, Liza Minnelli said. "A couple of days ago I was interviewed by a guy from the Los Angeles underground press. He didn't exactly ask me what I ate for breakfast. He came in with this tape recorder, and the funny thing was, he kept stopping the machine every time he'd ask a question and then start it for my answer. So it must have sounded like a long speech by me, babbling away about the universe."
What about the universe?
"A large topic," Liza grinned. "No, what he did ask was, how could I justify appearing on the Hollywood Palace since I was a member of the Movement."
"The Movement," Liza said. "I guess my last album gave the Movement the idea I was a recruit. So he asked, in which direction is the Movement moving? So I said it's moving toward Truth. He started his tape recorder and looked happy.
"But I really wasn't in his bag. I'm afraid of LSD, for example - scared to death of it. I don't particularly care what other people do, although these 14-year-old kids saying they've found essential reality is, well, a little frightening. I don't want to live in a world of high. And then, suppose you took LSD and found out horrible things about yourself? Some people should keep those doors closed . . . "
Liza is a small, bright, pleasant girl with astonishingly appealing eyes. The eyes remind you of her mother, Judy Garland, and some of her singing style comes from that quarter as well. But not too much. She has nurtured her own talent since, at age 15, she played Anne Frank in a company touring Israel. She had an off-Broadway debut at, 17, won a Tony at 19, was an established concert star at the same age, and now at 22 is receiving warm reviews for her role in Albert Finney's new movie, "Charlie Bubbles."
She will give a concert next Saturday night in the Auditorium Theater, but that was not the reason for this Chicago visit.
She came for a long weekend with her husband, Peter Allen. He and brother Chris, arriving from Australia like two jolly swagmen a few years ago, are having a considerable success at Mister Kelly's. So she watched their act ("Listen to this key change," she whispered during "We're Off to See the Wizard") and then jumped in a cab with Peter to dance at Maxim's between shows. "We think it's important to be together as much as possible," Liza said.
All the same, she confessed, there will probably never be an act featuring Peter, Chris and Liza, "We've tried singing together a couple of times, but our voices aren't compatible," she said. "We sound like the Sons of the Pioneers."
The chance to appear in "Charlie Bubbles" was a surprise. She was singing in London a year ago and met director Karel ("Morgan") Reisz. He recommended her to Finney who picked her for the movie "and now supposedly I'm a dramatic actor," she said. "Isn't that crazy? When I wanted a dramatic role, everybody kept coming up with musicals. So new I've finally played a dramatic part, and I want to do a musical, and everybody has more straight roles."
What kind of a musical?
"I have an idea. Just an idea. You could do 'The Fantasticks,' only do it outside, out in the fields in Italy or Spain, maybe. Do it strangely, the way it's written. Maybe steal from the style of Fellini's 'La Strada.'"
That makes it sound like a different breed from the MGM musicals her mother made famous: "The Wizard of Oz," "Till the Clouds Roll By," "Easter Parade" and all the others.
"Yes, I guess so," Liza said, "But mother doesn't give me any advice, all the same. She doesn't believe in it. She says she trusts me. That's a good feeling."
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