Don't Worry, He Won't Get Far on Foot
Van Sant the screenwriter does a disservice to the material by constantly chopping up narrative strands into bite-size chunks and later circling back to key…
The place for everything that doesn't have a home elsewhere on RogerEbert.com, this is a collection of thoughts, ideas, snippets, and other fun things that Roger and others posted over the years.
More moviegoers see films on video in some form than ever before -- whether streaming on demand, cable or satellite, instant download services, DVD or Blu-ray. Even high-profile pictures become available to home viewers before or at the same time as their theatrical release. Reviewing them is a job for... The Demanders!
Our Far-Flung Correspondents are cinephiles from all over the world, hand-picked by Roger Ebert to write about movies from their unique international perspectives. They include contributors from (alphabetically) Brazil, Canada, Egypt, Great Britain, India, Mexico, the Philippines, South Korea, Turkey and the U.S. They converge every year at Ebertfest.
Since he started as film critic for the Chicago Sun-Times in 1967, and began covering movies locally and at international film festivals, Roger Ebert has met and interviewed countless movie idols, artists and unknowns -- some of them even before they became famous. There's hardly a major figure in the history of movies, from the last part of the 20th century into the 21st, that he hasn't encountered.
Roger Ebert has attended international film festivals and events for almost half a century, from the Kolkata International Film Festival to the Academy Awards. In addition to his coverage, our contributors report the latest from Cannes, Telluride, Toronto, Sundance and other movie showcases world-wide.
"Life Itself," based on Roger Ebert's memoir and directed by Steve James, will open in theaters and be available On Demand on July 4, 2014.
The Cannes International Film Festival is the most talked-about film festival of the year, where directors from around the world showcase their newest work, from the most challenging art cinema to the big blockbusters. For many years, Roger Ebert and a team of contributors have covered Cannes, and we are continuing that tradition with start-to-finish coverage from around the festival.
A collection of tributes to Roger from various sources.
The opening shot of a movie can tell us a lot about how to view and interpret what follows. It can even represent the whole movie in miniature. The Opening Shots Project collects illustrated analyses of some of Jim Emerson's favorites, and contributions from Scanners readers.
One day last summer, David Letterman, Gene Siskel and I spent an afternoon wandering up and down a street in East Orange, N.J., knocking on people's doors.
Before you spend "An Evening with John Waters" Friday at the Annoyance Theatre, here are 10 things you need to know about the filmmaker once dubbed "The Pope of Trash." 1. He believes the American cinema may have never had a finer moment than in the mid-1950s, when exploitation films tried everything to lure customers into theaters, including Smell-o-Vision, Ghost-a-Rama and the Tingler (an electrical device that emitted small shocks to selected patrons). 2. One of his heroes is William Castle, the producer who anticipated interactive movies by four decades, by allowing patrons to vote on alternate endings for his horror films. (Waters thinks Castle cheated, since the patrons always voted for the violent ending, leading to speculation that an alternate may not have existed.) 3. The secret Celebrity Room at Frederick's of Hollywood is secret for a good reason: After Waters had talked his way past store employees and finally saw inside, he found it nondescript, and without celebrities. 4. That and many other facts are contained in Crackpot: The Obsessions of John Waters, his 1986 autobiography, where he poses on the back cover with his trademark pencil mustache (which makes him look like Johnny Depp in "Ed Wood"). 5. He began in his hometown of Baltimore by making lowbudget underground films. Their titles are like a litany of promo-sleaze: "Eat Your Makeup" (1967), "Mondo Trasho" (1968), "Multiple Maniacs" (1969), "Pink Flamingos" (1972), "Female Trouble" (1974), "Desperate Living" (1977) and "Polyester" (1981). Then came his move to Hollywood financing and movies with bigger budgets and more respectability, but no less cheerful sleaze: "Hairspray" (1988), "Cry-Baby" (1990) and "Serial Mom" (1994). 6. The cast for "CryBaby" is arguably the most intriguing roll-call in the history of the movies: Depp, Patricia Hearst, Polly Bergen, Iggy Pop, Joe Dallesandro, Joey Heatherton, Willem Dafoe, Ricki Lake, Traci Lords, Troy Donahue. Susan Tyrrell, Mink Stole and David Nelson. ("This isn't a cast," I wrote at the time, "it's a pileup at the wax museum.") Waters called it his "dream cast," and after making the film said there were only two people he wanted to work with but never had: Pat Nixon and Elizabeth Taylor. 7. Waters shot "Polyester" with Smell-o-Rama cues flashing at the bottom of the screen, and issued Scratch-n-Sniff cards to ticket buyers. When the movie was pressed for laserdisc by the Criterion Collection, the release was held up while the company searched for a manufacturer of Scratch-n-Sniff cards, since the technology had fallen out of favor. 8. His first film, made in 1964, was an 8-mm. home movie named "Hag in a Black Leather Jacket." 9. The artistic inspirations for his career, he says, were the movies "High School Hellcats," "Untamed Youth" and "High School Confidential." "Blackboard Jungle" was too classy. 10. Divine, the female impersonator who starred in so many of Waters' films, was a neighbor of Waters as he was growing up. Waters made Divine famous for his outrageous eyebrows, skin-tight gowns and over-the-top camp behavior. Divine was just beginning to develop a reputation outside the midnight movie ghetto - as a long-suffering mother of a teenage girl in "Hairspray" and as a sinister criminal art collector in "Eight Million Ways to Die" - when he died unexpectedly just as his rave reviews were rolling in for "Hairspray." Waters said as "Cry-Baby" was released: "I would never be so sacrilegious as to try to replace Divine. This movie stars Johnny Depp, who many people would think is the opposite, but in a way, Depp and Divine are the same to me. They are good actors, and they are movie stars. That's all that counts. I think they would have been good friends."
With the rugged features of a matinee idol and the physique of a trapeze artist, Burt Lancaster might easily have been typecast by Hollywood. But although he celebrated his physical grace and was not shy about appearing in action pictures, there was another side to his acting, right from the first: an angry, intellectual, introspective side that led him to give some of the best performances of his generation.
NEW YORK Strange. In most movie love stories, the turning point takes place in a scene between the lovers. In "Love Affair," which is about how characters played by Warren Beatty and Annette Bening fall in love, it takes place in a scene between Bening and Katharine Hepburn.
NEW YORK -- "You know, I've never been faithful to anyone in my whole life." Warren Beatty to Annette Bening in "Love Affair" A little murmur goes through the theater when Warren Beatty says that line, because it reflects such a famous truth, coming as it does from a legendary Hollywood playboy. And there are other moments in "Love Affair" (which opened Friday) when you wonder how close the screenplay comes to scenes that Beatty must have played in real life with Annette Bening, his co-star, his wife and the mother of his children.
With the rugged features of a matinee idol and the physique of a trapeze artist, Burt Lancaster might easily have been typecast by Hollywood. Although he celebrated his physical grace and was not shy about appearing in action pictures, there was another side to his acting, right from the first: An angry, intellectual, introspective side, that led him to give some of the best performances of his generation.
NEW YORK -- Woody Allen's new comedy, "Bullets Over Broadway," is about a man who takes his art so seriously he is willing to kill for it. The man is a gangster, circa 1930, who gets involved in the rewrite of a play, and doesn't want anybody screwing it up.
So thank God for tape recorders, because in the old pen-and-paper days, this would be the act of a desperate man, trying to keep up with Quentin Tarantino, who talks like he's being paid by the word and starts every sentence in the middle of the previous one.
The 1994 Chicago International Film Festival will kick off its 30th anniversary season on Thursday with the Midwest premiere of Woody Allen's "Bullets Over Broadway." Its star, Chicago native John Cusack, will be in attendance. The festival will end 18 days later, on Oct. 23, with the world premiere of David Mamet's "Oleanna," based on the play about political correctness that has inflamed theater audiences.
TELLURIDE, Colo.--Michael Tolkin once sold office supplies over the phone. He called up people and told them they were finalists for valuable prizes, and some of them got so excited they bought rollerballs and staplers and manila folders. In Tolkin's new film, "The New Age," his hero begins as a high-paid ad man, and eventually finds himself on the phone, selling office supplies.