An article about Bubba Wallace toppling confederate symbols at NASCAR and beyond, and driving for the first Black majority-owned racecar team co-owned by NBA Legend Michael Jordan.
Matt writes: Steve James' acclaimed 2014 documentary "Life Itself," chronicling the life and legacy of our site's co-founder, Pulitzer Prize-winning film critic Roger Ebert, premiered in virtual cinemas this past Friday as part of Magnolia Pictures' new screening series entitled, "A Few of Our Favorite Docs." Each of the films will have a virtual Q&A on the Wednesday following their premiere, while ten percent of the ticket sales will be donated to a charity of the filmmakers' choice. One of the subjects in "Life Itself", RogerEbert.com publisher Chaz Ebert, will take part in a virtual Q&A with Steve James TOMORROW, May 27th.
Matt writes: Early last month, I had the tremendous honor and joy of interviewing one of my lifelong heroes, Julie Andrews, and her amazing daughter, Emma Walton Hamilton, for RogerEbert.com. The conversation was originally intended to run during the week of Andrews' AFI Life Achievement Award ceremony (which was scheduled for this past Saturday, April 25th), but after it was postponed due to the COVID-19 pandemic, we decided to release the article yesterday in anticipation of Andrews and Hamilton's new podcast, "Julie's Library," which premieres tomorrow. Our conversation also covers the pair's latest book, Home Work: A Memoir of My Hollywood Years, their excellent Netflix series, "Julie's Greenroom" and their cherished memories of Jim Henson and the Muppets.
A review of the 10-part documentary series about the '90s Chicago Bulls, airing on ESPN.
An interview with director Rob Garver about his Pauline Kael documentary, What She Said: The Art of Pauline Kael.
An interview with actor and executive producer Taraji P. Henson about her new film, What Men Want.
An article about the 2018 ReelAbilities Film Festival, and Rick Goldsmith's documentary, “Mind/Game: The Unquiet Journey of Chamique Holdsclaw,” which will screen at fest
An article about various films set to screen at Ebertfest 2017, including the opening night selection, "Hair."
The evolution of Superman's cape; the de-evolution of women's roles in film and TV; joke plagiarist sort-of apologizes for stealing from Patton Oswalt & other pros; David Cronenberg does race cars; Vince Vaughn, salesman; fans bring their Game of Thrones grief into therapy; astounding animated short made entirely from 3-D paper models.
The saying in boxing is that "styles make fights". It means that two elegant matadors like Muhammad Ali, or two rampaging bulls like Joe Frazier, wouldn't have contested the classics fought by one Muhammad Ali and one Joe Frazier. The saying is true, and its truth extends beyond boxing to all sporting rivalries.
And, just as "fights" is not limited to boxing matches, "style" is not limited to physical methods of competition. "Style" includes styles of speaking, styles of thinking, styles of living. And, of course, "style" also includes skin color.
A few years ago, I set up an internet alert to inform me whenever Muhammad Ali was mentioned in the news. At the time, he wasn't doing anything newsworthy. It was years after the Michael Mann movie. A decade since his appearance in the Opening Ceremony of the 1996 Olympic Games. Nearly three decades since his last fight. But, for whatever reason, he was on my mind. The strange thing I discovered is that he was in the news, somewhere in the world, every single day. Every single day. That's his astonishing mystique. For whatever reason, he was and is on everyone's mind. The most popular of all basketball players, Michael Jordan, is in the news for shoe sales. The most popular of soccer players, Pele, is in the news for soccer. The most popular of all cricket players, Imran Khan, is in the news for politics. Muhammad Ali, however, is in the news for being Muhammad Ali. Rather, he is in the news for who Muhammad Ali was and is to us. And, in Pete McCormack's wonderful "Facing Ali," we learn who he is and was for the fighters he faced.
A few days ago, I was one of many critics who panned the film SUCKER PUNCH. Though I hadn't written my own, I advocated several reviews that I felt reflected my sentiments.
Though I agreed in their disapproval, two words kept on reappearing with each negative review I read: "video game." To say that the film draws greatly upon video game aspects is accurate. But with each citation, my fellow critics continue to beat the dead horse of an argument that video games are a meaningless form of mindless entertainment.
I grew up on movies and on video games, and love and respect what they bring to the table. Though I enjoy them on different levels, they both have given me moments of wonder and serious reflection. As an avid gamer and film lover, I find it a shame to see how one medium has gained artistic acceptance while the other continues to be derided by the mainstream. There are many reasons why they are looked down upon, but if you give them a shot, you just might conclude that video games should be considered art.