Noelle has more going for it than just being one of the easiest ways for Disney+ to make a good first impression.
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.
How does an actress go about preparing to play another human being? And what if the other person's friends are standing by to see what you do? Meryl Streep has played realistic characters before, but they were creations of the filmmakers. Her new role is Karen Silkwood, who really lived and breathed and died a controversial death, and whose lover was standing by to tell Streep what he remembered and suspected about her.
Jack Nicholson gets third billing in "Terms of Endearment," the heartwarming and heartbreaking new movie about 30 years in the lives of a mother and her daughter. He's billed after Debra Winger and Shirley MacLaine, just as, 14 years ago, he was billed beneath Peter Fonda and Dennis Hopper in "Easy Rider." The uncanny thing is how Nicholson's third-billed appearances tend to haunt the memory. They're not "supporting roles," they're great and strange and funny characters who bring whole worlds into the movie with them.
A Chinese restaurant on Second Avenue in New York. One of those places where all the right demographic groups are seen eating dim sum with their Significant Others. In a corner by the window, three young people are studying the menu.
In Life magazine this month she looks like a sleek blond goddess, her lips parted to nibble on a flower. At breakfast the other day, though, Mariel Hemingway looked more like a kid sister you were meeting at the Palm Court of the Plaza between trains.
When she heard about the gladiator's cloak, Sybil Danning knew that things were not going to be great between her and Lou Ferrigno. This was on the set of 'Hercules,' in Rome, where Sybil was co-starring with the onetime Incredible Hulk.
Do Mary Steenburgen and Dudley Moore have romantic chemistry in the new movie "Romantic Comedy"? I think they do. Other people think they don't. On the very same day that I was writing about their wonderful chemistry, other critics were writing about how chemistry was lacking between the two of them.
Let's hope we meet again, in your heaven, or my hell.
They honored Robert Duvall the other night at the Festival of Festivals in Toronto, dedicating their annual Tribute to an actor's actor who is only now entering into stardom after two decades of great character performances.
The walls of Roger Smith's office are covered with pictures of Ann-Margret. Here she is as a sex kitten, on the cover of Life. There's a cover from Entertainment World, a forgotten show business magazine. All in a row are three recent covers of People. And here are an oil painting of Ann-Margret, and a lot of cartoonist's caricatures, and some framed ads and telegrams and the usual backstage memorabilia. In one corner, almost hidden behind a file cabinet, is Roger Smith's only souvenir of his own career: A framed ad for his stage appearance as a folk singer at the "hungry i" nightclub in San Francisco, in 1964.
Fred Williamson sits on the terrace of the Majestic Hotel, his shirt open to the waist, gold chains around his neck, a fine Havana cigar in his hand, preparing to sell his 18th movie at the Cannes Film Festival, and he thinks out loud: "Where are my boys singing doo-wop down on the corner? Where are the boys I started out with at Broadway and l7th in Gary, Ind., singing doo-wop? I wish they could check this out and see that I'm really doing this."