After Everything
As long as the focus is on Mia and Elliot, the film is involving and moving.
Ted Kotcheff
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Wake in Fright (2012)
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Directed by
Roger Ebert -
Weekend at Bernie's (1989)
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Directed by
Roger Ebert -
Winter People (1989)
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Directed by
Roger Ebert -
Switching Channels (1988)
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Directed by
Roger Ebert -
Uncommon Valor (1983)
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Directed by
Roger Ebert -
Who Is Killing the Great Chefs of Europe? (1978)
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Directed by
Roger Ebert -
Fun with Dick and Jane (1977)
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Directed by
Roger Ebert -
The Apprenticeship of Duddy Kravitz (1974)
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Directed by
Roger Ebert -
Two Gentlemen Sharing (1969)
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Directed by
Roger Ebert
* 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.
TIFF #9: And so then I saw...
I always try to find at least one film at Toronto that's way off the beaten track. I rarely stray further afield than I did Tuesday night, when I found myself watching "Wake in Fright," a film made in Australia in 1971 and almost lost forever. It's not dated. It is powerful, genuinely shocking, and rather amazing. It comes billed as a "horror film," and contains a great deal of horror, but all of the horror is human and brutally realistic.
Donald Pleasence in "Wake in Fright"
The story involves a young school teacher in the middle of the desolate wilderness of the Outback. The opening overhead shot shows a shabby building beside a railroad track, the camera pans 360 degrees and finds only the distant horizon. and then returns to find a second building on the other side of the tracks. One building is the school. The other is the hotel. To get to either, people must have to travel a great distance.
Dusty Cohl: In Memory
Nobody ever seemed to know what Dusty Cohl did for a living. He was a lawyer, and it was said he was "in real estate," but in over 30 years I never heard him say one word about business. His full-time occupation was being a friend, and he was one of the best I've ever made.
Hollywood lip smackdown!
Q. A blogger named Brian at takes issue with your remarks about Paul Greengrass' long takes in "The Bourne Ultimatum," writing: "I don't recall a single take in this movie that was more than about three seconds long. Either Greengrass really does a spectacular job of not 'calling attention' to those long takes, or Ebert saw a different movie. But it's very strange, no matter what." (From goneelsewhere.wordpress.com:) Who's right?
