Mickey and the Bear
An elegantly wrought drama about a father and daughter.
* 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.
An interview with screenwriter Scott Z. Burns and author Jake Bernstein about The Laundromat.
A recap of the first night of Ebertfest 2019 with videos of the event.
Matt writes: Though the 2019 Sundance Film Festival wrapped this past Sunday, RogerEbert.com is still adding to its coverage of the various cinematic highlights, all of which can be found in our official Table of Contents. There you will find reviews and interviews penned by Brian Tallerico, Nick Allen, Tomris Laffly and Monica Castillo, as well as special dispatches from this year's trio of Ebert Fellows: Niani Scott, Whitney A. Spencer and Tiffany Walden.
An interview with Oscar-winning actor Richard Dreyfuss and Deborah Kolar, daughter of Robert Shaw, about Steven Spielberg's "Jaws."
Memories and anecdotes from 50 years of moviegoing.
An interview with the co-writer and director of the new comedy, "Book Club."
Such exposure can only improve a contender's chance of gaining a berth in an acting category.
A dispatch from the New York Film Festival, including thoughts on the latest from Arnaud Desplechin and Claire Denis.
Part I of our 2017 Pens to Lens Gala coverage, featuring remarkable short films written by students in Champaign-Urbana.
A review of FOX's "Shots Fired," premiering March 22 at 8/7c.
Premieres, Midnights, Special Events and more have been announced for next month's Sundance Film Festival.
Before this summer's "The BFG," Spielberg made another personal, enchanting and overlooked film: 1989's "Always."
An interview with Richard Dreyfuss in celebration of the 25th anniversary of "Rosencrantz & Guildenstern Are Dead."
An interview with the legendary star of the new I'll See You in My Dreams.
An interview with film critic Matt Fagerholm.
An appreciation of Elizabeth Pena.
Odie Henderson launches our coverage of Oscar Memories from some of our most notable contributors.
Ben Affleck's "The Town" (2010) is an impressive effort from a third time director whose acting choices almost derailed his Hollywood career. With the clear exception of "Changing Lanes" (2002), this film is better than everything he ever did before and the reason is simple: instead of choosing to be involved in another blockbuster wannnabe, Affleck wrote, directed and starred in this heartfelt project about a fascinating borough that he seems familiar with. It is also a work of numerous, obvious inspirations, raising the question of whether said fact makes it any less worthy.
I'm under the impression that people settle on an all-time favorite movie at a relatively early age. With time they become increasingly difficult to displace, no matter what cinematic greatness may follow. This is what best describes my experience with "Jaws" (1975). Eventually I may have acquired a greater admiration for "The Godfather" films but by then it was too late. My first viewing of "Jaws" felt perfect. I later learned it wasn't.
Marie writes: It was my birthday June 25th. Unlike Roger however, I'm a Crab not a Gemini. So to celebrate and with my brother's help (he has a car), I took my inner sea crustacean to Barnet Marine Park on the other side of Burnaby Mountain... and where our adventure begins....
Streaming free on Amazon Prime.
Rob Reiner's films represent a remarkably mixed bag. The best scripts he's chosen have made for rather good pictures ("Misery," "A Few Good Men," "When Harry Met Sally...") and the bad ones ended up being "North" and "The Bucket List". There have been a few filmmakers like Hitchcock who always managed to take their work's origin to the next level but I have my doubts even he could have made "Bucket's" digital journeys to the Taj Mahal/Himalayas interesting.
Of late, I've been thinking about how I got here. Here, in love with movie watching and movie making. Here, in a design school in India, and not an engineering college or a medical school like predetermined for most Indian students. Here, in correspondence with a huge role model of mine. Here, doing what I love.
As far as I know, "a mixed bag" is a negative expression, but I think that is an appropriately positive one in case of "Leaves of Grass" (2009) for its seemingly disjointed combination of crime story and philosophy. The movie throws such discrepant stuff into its plot that it could actually make a good shopping list: Latin, marijuana, Socrates, crossbows, poetry, bongs, Heidegger, family, catfish, Whitman, parallel lines, menorahs, swastikas, murder, and so on.
The Grand Poobah shared the following recently and which struck me as just the thing to put in here - for it amounts to someone inventing a moving still akin to those seen on the front page of Harry Potter's famous newspaper."You know how people sometimes say that jazz is the only truly American art form? Animated GIFs are like the jazz of the internet: they could only exist, and be created and appreciated, online. That said, PopTart Cat is not exactly on par with Thelonious Monk. But photographer Jamie Beck and motion graphics artist Kevin Burg may have finally found a way to elevate the animated GIF to a level approaching fine art, with their "cinemagraphs" -- elegant, subtly animated creations that are "something more than a photo but less than a video." - fastcodesignAnd sadly, they won't work in here; Movable Type doesn't like animated gifs. It's easily solved however, just visit Far Better Than 3-D: Animated GIFs That Savor A Passing Moment to see an assortment in play!
This is the last of my lists of the best films of 2010, and the hardest to name. Call it the Best Art Films. I can't precisely define an Art Film, but I knew I was seeing one when I saw these. I could also call them Adult Films, if that term hadn't been devalued by the porn industry. These are films based on the close observation of behavior. They are not mechanical constructions of infinitesimal thrills. They depend on intelligence and empathy to be appreciated.
They also require acting of a precision not necessary in many mass entertainments. They require directors with a clear idea of complex purposes. They require subtleties of lighting and sound that create a self-contained world. Most of all, they require sympathy. The directors care for their characters, and ask us to see them as individuals, not genre emblems. That requires us to see ourselves as individual viewers, not "audience members." That can be an intimate experience. I found it in these titles, which for one reason or another weren't on my earlier lists. Maybe next year I'll just come up with one alphabetical list of all the year's best films, and call it "The Best Films of 2011, A to Z."