With its single setting and real-time story, The Guilty is a brilliant genre exercise, a cinematic study in tension, sound design, and how to make…
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.
CANNES, France -- I am a little dizzy. I have just returned from a $2,500-a-ticket dinner auction that followed a fashion show of Victoria's Secret swimwear and included Kenneth Branagh and James Caan stripping to the waist to be massaged by supermodel Heidi Klum on top of a piano later to be played by Elton John, while Harvey Weinstein auctioned off lunch with Nelson Mandela for $100,000.
This is Ebert’s introduction to "The Movies Are," edited by Arnie Bernstein, a collection of Carl Sandburg’s film criticism from the Chicago Daily News.
CANNES, France -- Films are booed at Cannes for two reasons: Because they are bad, or because they are infuriating. Those in the second category are likely to be quite good, although they make you so mad, you have to step back and cool off to appreciate their qualities.
In his new movie "Small Time Crooks," opening Friday, Woody Allen plays an ex-con who dreams up a bank heist. It involves tunneling into a vault from a basement down the street, and he installs his wife (Tracey Ullman) to run a cookie store as a cover. The cookies make them millionaires, the money goes to her head, and she hires a British art expert (Hugh Grant) to tutor her on culture, while her husband misses his old pals and their card games.
CANNES, France -- Since my last dispatch I have seen nine films, four of them more than three hours long, bringing my Cannes total to 16 movies in six days. I feel like the hero of "A Clockwork Orange," who had his eyelids propped open with toothpicks while cinema was force-fed into his brain.
CANNES, France -- The big stars don't like to stay in town. It's more prestigious for them, and no doubt more comfortable, to stay 45 minutes away at the Hotel du Cap d'Antibes, which is the kind of hotel where it is not an affectation but a necessity to pull out a big roll of bills of high denominations, because the Hotel du Cap accepts no checks or credit cards only cash. Cash for everything. Cash for rooms, cash for drinks, cash for a towel in the beach cabana.
CANNES, France -- I am sure that the opening of this year's Cannes Film Festival will be a night to remember, but I will not remember it, because I will be elsewhere. I will not attend the inaugural screening of Roland Joffe's "Vatel," even though it does star Gerard Depardieu and Uma Thurman, and even though I am invited to the party afterward.
If "The Cider House Rules" wins the Academy Award for best picture next Sunday night, expect the groans to more or less equal the cheers. There are those who sincerely believe it is a good picture, but there are other, perhaps more numerous, who believe "Cider's" seven nominations are less a tribute to the film's greatness than to the well-oiled Miramax Oscar Machine.
One grain of rice.
WASHINGTON, D.C. He was an only child until he was 10, and both his parents worked. But you could go to the movies for a dime, he remembers, and he went to a lot of them. "I saw every movie that came my way when I was a child," President Clinton said, "and they fired my imagination - they inspired me. I think it's interesting that I'm 53 years old, and my favorite movie is 'High Noon,' a movie I saw when I was 6."