A stellar high school comedy with an A+ cast, a brilliant script loaded with witty dialogue, eye-catching cinematography, swift editing, and a danceable soundtrack.
* 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 review of two political films from this year's Sundance. One is great, one is not.
A preview of the 2019 Sundance Film Festival.
A look ahead at the 112 films that will play the Sundance Film Festival in January 2019.
A review of Amazon's Ordeal by Innocence, based on the book by Agatha Christie.
A partial preview of films and guests scheduled for Ebertfest 2018.
An extensive preview of 50 films coming out within the next four months, from "Sully" to "Toni Erdmann."
The latest in an amazing array of new releases on Blu-ray and streaming media, including Inherent Vice, Selma, Winter Sleep, Mommy, Dancing on the Edge, Halt and Catch Fire, and more.
For better and worse, "Stoker," South Korean director Chan-wook Park's first film with an all English-speaking cast, is very much Park's baby. Park ("Sympathy for Mr. Vengeance," "Thirst") is most well-known for directing "Oldboy." In that now-famously bloody, operatic revenge drama, and most of his other films, Park takes great pains to steep viewers in his protagonists' subjective worlds. Perspective is accordingly a prison in "Stoker," a soapy Southern Gothic-style coming of age story with an Alice in Wonderland fetish.
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!
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This is a free sample of the Newsletter members receive each week. It contains content gathered from recent past issues and reflects the growing diversity of what's inside the club. To join and become a member, visit Roger's Invitation From the Ebert Club.
Marie writes: Not too long ago, Monaco's Oceanographic Museum held an exhibition combining contemporary art and science, in the shape of a huge installation by renowned Franco-Chinese artist Huang Yong Ping, in addition to a selection of films, interviews and a ballet of Aurelia jellyfish.The sculpture was inspired by the sea, and reflects upon maritime catastrophes caused by Man. Huang Yong Ping chose the name "Wu Zei"because it represents far more than just a giant octopus. By naming his installation "Wu Zei," Huang added ambiguity to the work. 'Wu Zei' is Chinese for cuttlefish, but the ideogram 'Wu' is also the color black - while 'Zei' conveys the idea of spoiling, corrupting or betraying. Huang Yong Ping was playing with the double meaning of marine ink and black tide, and also on corruption and renewal. By drawing attention to the dangers facing the Mediterranean, the exhibition aimed to amaze the public, while raising their awareness and encouraging them to take action to protect the sea.
Marie writes: And so it begins! A new year and another season of Film Festivals and Award shows. The Golden Globes have come and gone and in advance of quirky SXSW, there's Robert Redford's Sundance 2013...
Marie writes: "let's see what happens if I tickle him with my stick..."(Photo by Daniel Botelho. Click image to enlarge.)
Marie writes: It's that time of year again! Behold the shortlisted nominees for The Turner Prize: 2012. Below, Turner Prize nominee Spartacus Chetwynd performs 'Odd Man Out 2011' at Tate Britain on October 1, 2012 in London, England.
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Q. I read your Great Movie review of "Magnolia" and asked myself why the film was titled like that and thought of all the different characters, all beautiful blossoms, alone, but connected at the root of one great magnolia. I see "Magnolia" as a story about redemption. The film so closely observes its sinners, and we suffer as we watch them trapped in their self-made cages of misery. But all along, a change is coming; from the very outset, something is in the air. The religious allegory here is about receiving a second chance.
Inside many superhero stories is a Greek tragedy in hiding. There is the godlike hero, and he is flawed. In early days his weaknesses were simplistic, like Superman's vulnerability to Kryptonite. Then Spider-Man was created as an insecure teenager, and comic books began to peer deeper. Now comes the "Watchmen," with their origins as 1940s goofballs, their development into modern costumed vigilantes, and the laws against them as public nuisances. They are human. Although they have extraordinary physical powers, they aren't superheroes in the usual sense. Then everything changes for Jon Osterman, remade after a nuclear accident as Dr. Manhattan. He isn't as human as Batman, but that can be excused because he isn't human at all.
He is the most metaphysically intriguing character in modern superhero movies. He not only lives in a quantum universe, but is aware that he does, and reflects about it. He says, "This world's smartest man means no more to me than does its smartest termite." He lives outside time and space. He explains that he doesn't see the past and the future, but he does see his
CANNES, France – Woody Allen is back. He hasn’t exactly been away, but not many of his recent films have stirred up the kind of excitement inspired here Thursday by “Match Point,” which is a thriller involving tennis, shotguns and adultery.