McQueen’s masterful film is the kind that works on multiple levels simultaneously—as pure pulp entertainment but also as a commentary on how often it feels…
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.
My digital camera slips into my pocket and goes with me to every screening at the Toronto Film Festival. You never know who you'll meet: Helen Shaver bounding out of an elevator, LeVar Burton on his way to a movie, Denzel Washington in the lobby of the Four Seasons at midnight. At the end of the day I download my catch, slipping the photo card out of the camera and into my Mac G3 Powerbook. Software allows me to crop the photos and fiddle with the exposure, and then I load them into e-mail and zap them off to the paper.
TORONTO -- Spike Lee's new film was shot on digital video. Joel Schumacher's new film was shot on 16mm. The formats probably made the films possible. Video is not film and 16mm is not 35mm, but the artistic imagination is the same, and the lower-priced formats allow spontaneity and speed that you can't get when you're dragging a 35mm camera and all of its lights and acolytes everywhere you go.
TORONTO -- I walk out of the Uptown and there's a TV crew on the sidewalk, and although they are no doubt hoping for Parker Posey, they ask me a question, anyway: "What do you look for in a festival film?" I say I'm not really looking for anything in particular, blah, blah, but for some reason the question reverberates all day.
TORONTO -- Notes after emerging from early screenings at the Toronto Film Festival:
TORONTO -- The ghosts of good films and old friends haunt the streets of Toronto this year. I am in a nostalgic mood, inspired by the 25th anniversary of the festival.
TORONTO -- Joel Schumacher is not exactly singing "Amazing Grace," but from the way he talks, he once was lost and now he's found, was blind but now he sees.
TORONTO -- It was the opening weekend of the 25th anniversary Toronto Film Festival, the summer was over, and it was safe for the good movies to open again. Summer is the season devoted to the mindless feeding of our base desires for low entertainment. Autumn is when we get new three-ring binders and iron our chinos and go back to school. Something ineffable in the first cool day of September makes us think deeper thoughts and nurture our better natures. This passes, but for a time we feel virtuous and want to go to movies that will reveal the secrets of life.
TORONTO -- I missed the first Toronto Film Festival. So did a lot of other people. I've attended every one since. The second was like a gathering of conspirators who raced from theater to theater on the rumors of screenings. But the festival has grown so steadily that its 25th anniversary event, which begins today, can safely be called the most important film festival in North America, and one of the top handful in the world.
Walter Matthau, who claimed that "Foghorn" was his middle name, is dead at 79. The beloved actor, whose face was mapped with laugh lines, died of a heart attack early Saturday morning. He was brought into a Santa Monica hospital in cardiac arrest, and pronounced dead at 1:41 a.m. PDT.
CANNES, France -- Why did they save the best for last? "Songs From The Second Floor" and "In The Mood For Love," two brilliant final entries in this year's Cannes Film Festival, played over the weekend, as the hotels were emptying and the traffic jams clearing.