Mamma Mia! Here We Go Again
For all its frantic energy, it manages to go absolutely nowhere.
* 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.
Matt writes: In his list ranking the best films of 1987, Roger Ebert included Taylor Hackford’s “Chuck Berry: Hail! Hail! Rock and Roll!,” calling it “the year's best musical documentary, a rollicking and sometimes revealing record of the attempt by Rolling Stone Keith Richards to stage a 60th birthday concert for Berry, at which the pioneer of rock and roll would at last be accompanied by a well-rehearsed backup band.” After Berry passed away last weekend, our critic Glenn Kenny penned an insightful obituary that paid tribute to Hackford’s film. “Aside from being a superb portrait of Berry—and of Richards, whose intelligence and clear devotion to music here belies his sometime rap as a wizened five-string-zombie,” wrote Kenny, “[it] is one of the great rock and roll documentaries.” And of Berry, Kenny argued, “For all the great things he achieved, he deserves to be the fifth face on Mount Rushmore.”
Three more films from TIFF, including the latest from Tom Ford and Kim Ki-duk.
The first films announced for the 2016 Toronto International Film Festival.
An interview with filmmaker Lars von Trier at the Cannes Film Festival.
A report on “Hasse Ekman: The Other Swede in the Room” at the Museum of Modern Art in NYC.
The movie questionnaire and 2015 reviews of RogerEbert.com film critic Christy Lemire.
A list of the three-star reviews so far posted on RogerEbert.com this year.
A reposting of Godfrey Cheshire's landmark essay in anticipation of the Critic's Forum at Ebertfest.
An excerpt from the book, "Harmony Korine: Interviews by Eric Kohn."
RogerEbert.com contributor Godfrey Cheshire's landmark two-part series "Death of Film/Decay of Cinema" anticipated many of the changes that would later shake the medium to its core.
Barbara Scharres reports on the winners at the Cannes Film Festival.
As Roger Ebert noted in February, film festivals have become so ubiquitous that there's almost certainly one within driving distance of most film fans in the US. And lots of them are sprouting world-wide. Three years ago, I'd pitched Roger with an "FFC" piece on the Santa Barbara International Film Festival. He advised that I provide a sense of the town and its atmosphere, the people, as well as what the festival itself was like.
The winner of the Academy Award for Best Picture will be Ben Affleck's tense new thriller "Argo." How do I know this? Because it is the audience favorite coming out of the top-loaded opening weekend of the Toronto Film Festival. Success at Toronto has an uncanny way of predicting Academy winners; I point you to the Best Pictures of the last five years in a row: "No Country for Old Men," "Slumdog Millionaire," "The Hurt Locker," "The King's Speech" and "The Artist."
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....
The 65th Cannes Film Festival's eleven days of prediction, wild speculation and gossip, some of it centering on the notoriously cranky personality of this year's jury president Nanni Moretti, came to an end Sunday evening in festival's business-like awards ceremony (or Soiree de Palmares, as the French call it) that traditionally lacks the extended let's-put-on-a-show aspect of the Oscars. The jury was seated onstage in a solemn group, and the awards given with a modest amount of fancy-dress formality, a bit of unrehearsed fumbling, and acceptance speeches that were short, dignified and to the point.
The foul weather that has marred the usually sunny festival continued to the end, and elite guests and movie stars alike walked a red carpet tented by a plastic roof as the rain fell on the multi-colored umbrellas of the surrounding crowds. Festival director Thierry Fremoux personally held an umbrella for Audrey Tautou, star of Claude Miller's closing night film, "Therese Desqueyroux," as she headed up the famous steps in a calf-length ivory lace gown with a bodice heavily embroidered in gold.
Actress Berenice Bejo, an international sensation since her starring role and subsequent Oscar nomination for "The Artist," performed mistress of ceremonies duties in a white, bridal-looking strapless sheath with long train, her only jewel an enormous heart-shaped emerald ring. Just about the only prediction this year that turned out to be accurate was the one that advised that all was unpredictable under the jurisdiction of the pensive and often-scowling Moretti.
He had these smiling eyes. And a self-deprecating manner which seemed to belie his very good looks ("He's so cute," my 19-year-old assistant exclaimed), about which he was fairly oblivious. Most of all, he was simply a very good guy.
Gary Winick, a many-hats-wearing filmmaker and digital pioneer, died of complications following a 2 year battle with brain cancer on February 27th, the day of the Academy Awards --- an especially sad irony for a vital man, weeks shy of 50, whose passion for film and storytelling had filled the decades of his adult life.
The private memorial service was held at the Time-Warner Center in Winick's beloved New York. Overlooking Central Park as the sun set, an invited group of 400 (some going back to childhood, some famous, many with whom he'd worked, even some he'd made sure got a decent meal when they were struggling) assembled to watch film clips, to hear and tell stories - to cry, yes, but also to laugh at so many experiences they certainly cherish now.
Another much-anticipated film by one of the big names in this year's Cannes competition premiered this morning -- "Melancholia" by Lars von Trier. It's no secret that this apocalyptic science fiction drama ends with the destruction of the earth, since that is revealed in the first few minutes of the film. The character played by Charlotte Gainsbourg, neatly summarizes von Trier's dark pessimism with the line, "The earth is evil; we don't need to mourn for it." What is rather amazing is that a film about the destruction of all life (and von Trier posits that we are alone in the universe) could be so turgid.
That said, I think I rather prefer von Trier's wacko view of the cosmos in "Melancholia" to Terrence Malick's in "The Tree of Life." With the ingredients von Trier had to work with, it's surprising that he didn't make a better film. Following the various forms of desecration and transgression that are the hallmarks of "Antichrist," it's as if he felt the need to top himself with an even more outrageous concept, but forgot to figure out what the outrageous part would be.
"Melancholia" examines the relationship of two sisters, Justine (Kirsten Dunst) and Claire (Charlotte Gainsbourg) in the final days before the planet named Melancholia is due to collide with the earth. The story falls into two parts. The first is named for Justine, who is blonde, conventionally pretty, and mentally unstable. The second is named for Claire, who is Justine's opposite in every way, not only in her lean, dark-haired appearance, but in her down-to-earth competence in managing the stuff of life.
PARK CITY, Utah--I have just spent an hour with the 2003 program for the Sundance Film Festival, and I am churning with eagerness to get at these films. On the basis of track records, this could be the strongest Sundance in some time--and remember, last year's festival kicked off an extraordinary year for indie films.
PARK CITY, Utah - For a century, movies have been projected onto a big screen by a bright light shining through a moving strip of celluloid. If the prophets of the coming digital age are correct, film will disappear from that equation at some point in the next decade, and movies will be recorded and projected by digital means. Already the comfortable old word "photography" is being replaced by "image capture."