You’ll shed a tear or two—especially if you’re a parent—and they’ll be totally earned.
* 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 article announcing the 20th Anniversary of Ebertfest April 18-22, 2018 and tickets on sale November 1st.
A review of the first four hours of David Lynch's "Twin Peaks: The Return".
A review of the "Mystery Science Theater 3000" revival that's now playing on Netflix.
A review of three premieres from the 2017 South by Southwest Film Festival.
An article about Ebertfest, Roger Ebert's Film Festival 2017 passes, which are now on sale.
An appreciation of the late, great cinematographer, documentarian and activist Haskell Wexler, plus a transcript of his 2013 conversation about his work on Terrence Malick's "Days of Heaven."
Members of the RogerEbert.com film community remember the late Haskell Wexler.
An article on Ebertfest 2016 passes available for purchase on November 2nd.
Passes for Ebertfest 2015 will go on sale Saturday, November 1st.
Sam Fragoso chats with Kim Robeson, an Ebertfest lover who has been coming since the very first year.
Marie writes: every once in a while, you'll stumble upon something truly extraordinary. And when you don't, if you're lucky, you have pals like Siri Arnet who do - and share what they find; smile."Using knives, tweezers and surgical tools, Brian Dettmer carves one page at a time. Nothing inside the out-of-date encyclopedias, medical journals, illustration books, or dictionaries is relocated or implanted, only removed. Dettmer manipulates the pages and spines to form the shape of his sculptures. He also folds, bends, rolls, and stacks multiple books to create completely original sculptural forms.""My work is a collaboration with the existing material and its past creators and the completed pieces expose new relationships of the book's internal elements exactly where they have been since their original conception," he says. - mymodernmet
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PARK CITY, Utah -- Rosario Dawson should be on those Sunday morning political talk shows, as a guest or a host, either way. She is so intelligent and fiercely opinionated that I forgot, for a moment, I was talking with a movie actress, and got into my Problems of the World mode.
It was a year when more movies opened than during any other year in memory. A year when the big Hollywood studios cast their lot with franchises, formulas, sequels, and movies marketed for narrow demographic groups--focusing so much on "product" instead of original work that they seemed likely to be shut out of the Oscars, as they were essentially shut out of the Golden Globes. A year when independent and foreign films showed extraordinary vitality. A wonderful year, that is, for moviegoers who chose carefully, and a mediocre year for those took their chances at the multiplex.
Q. I saw "Titanic" a second time to be sure I heard correctly. During the scene where the crew is trying to avoid the iceberg, they shout, "Hard to starboard!" Since they were frantically trying to turn the ship to port, I didn't understand the command. The scene clearly shows the ship veering left, and all of the damage was subsequently done to the starboard side. If someone told me "hard to starboard," I would turn the ship to the right. Maybe we have just discovered the real reason the ship hit the iceberg that night ("Oops! I meant 'port!'"). (Denise Leder, Las Vegas).
Ebert's Best Film Lists1967 - present
LOS ANGELES -- I walked in to talk to Pam Grier with these words of Quentin Tarantino fresh in my mind:
LOS ANGELES Has any other movie director become this famous after making only two movies? Well, yes - Orson Welles. But Welles was already a star when he went to Hollywood. Quentin Tarantino came out of next to nowhere and became famous because he made two of the most influential movies of the past five years, and because . . . well, because he tickles people.
NEW YORK -- At 47, Haskell Wexler was one of the nation's most successful cameramen. He'd won an Academy Award in 1966 for his work on Mike Nichols' "Who's Afraid of Virginia Woolf?" He had been the cinematographer on films by Elia Kazan ("America, America"), Joseph Strick ("The Savage Eye"), Tony Richardson ("The Loved One") and Norman Jewison ("In the Heat of the Night," "The Thomas Crown Affair"). But he wanted to direct his own movie. And last summer he came to Chicago to do that. The result is "Medium Cool," a movie unlike anything you have seen and possibly unlike anything you want to see. It is likely to be this autumn's most controversial film.