A stellar high school comedy with an A+ cast, a brilliant script loaded with witty dialogue, eye-catching cinematography, swift editing, and a danceable soundtrack.
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.
"What happened was, I was reading about Buster Keaton," Gene Wilder said. "About how he did all his own stunts. Like the time he had to stand in exactly the right place for the two-ton building to fall on him and he was right where the window was. So then we were making 'Silver Streak' and there we were doing our own stunts."
BEVERLY HILLS, Calif. - Breakfast at the Beverly Wiltshire. The waitresses in their frills and bodices like Swiss maids. Waiting to talk with Alan Arkin, I drink coffee and read the Los Angeles Times. Convicted killer Gary Gilmore has broken his 21-day hunger strike and eats his first meal, a cheese and bologna sandwich. David Susskind walks into the breakfast room. Orders breakfast. What's he having? Scrambled eggs, toast, orange juice? Susskind is negotiating for the Gary Gilmore story. Everybody's gotta eat. Wonder if Susskind knows that Gilmore....
Sylvester Stallone sits on a hotel sofa with his feet up on the coffee table. He wears expensive blue jeans, the kind you buy in Beverly Hills. His muscles bulge beneath a T-shirt that says, simply and inexplicably, "Valentine." He has a tough, sensual face, a mane of black hair and the best hooded eyes since Robert Mitchum. Two years ago, he observes, his acting career was "intellectually, emotionally and financially defunct." Now he talks about how it's going to feel to be a star.
"It was just a year ago at this time," Jessica Lange remembered. "The screen tests were on Dec. 17 and 19, and then I went home for Christmas. And I said to my folks, I've got some news for you that you're not going to believe. I'm, ah, I'm going to star in 'King Kong'..."
Richard Brooks hunched his shoulders against a cold State Street wind and peered past the Christmas windows at Marshall Field's."Willya look at that," he said, wonderingly. "Howya gonna tell 'em?"There was a Salvation Army bucket in the middle of the sidewalk, and shoppers were automatically reaching into their pockets for dimes and quarters as they walked past. Trouble was, both the bucket and the window displays were props 'for Brooks' new movie, "Looking for Mr. Goodbar." They weren't actually due on State Street for another week.
This is ridiculous, I told myself. You've interviewed Ingmar Bergman. Robert Mitchum. John Wayne. You got through those okay. Why should you be scared of Jeanne Moreau? Simply because she's the greatest movie actress of the last 20 years? Simply because she's made more good films for great directors than anybody else? Simply because something in her face and manner has fascinated you since you sat through "Jules and Jim" twice in a row? She's only human; it's not like she's a goddess.
"You don't know me," said the great-looking blonde in the wraparound fur, "but I know you."
Some people daydream and some people don't.
Ancient Man sat in caves, safe from the wolves, and gnawed burnt meat. Hollywood Man sits in Truffles, eats smoked salmon, and discusses disaster movies. There is in both cases the delicious sensation of flirting, in exquisite comfort, with danger.
I met Dalton Trumbo only once, five years ago, but he made an impression I've not forgotten. The meeting was for lunch, long and leisurely, on the occasion of the opening of his film, "Johnny Got His Gun." Trumbo had directed the film at the age of 66, from a novel he wrote when he was 33. In the lifetime between those two ages he had been the highest-paid writer in Hollywood, had spent 10 months in prison and had won an Academy Award under a false name.