Lucy in the Sky
There’s a point at which this joke stops being funny and turns sad, and it’s very early in its over two hours runtime.
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.
HOLLYWOOD - Warren Beatty in sunglasses and a Mercedes sports convertible provides a presence that is not a million miles removed from the image of George, the libidinous hairdresser he plays in "Shampoo." And that is perhaps part of the reason for the film's enormous success (it is now being projected as one of the 20 top-grossing movies of all time, and in the Chicago area alone has played to more than half a million people). Beatty the person has inflamed the imaginations of the readers of movie fan magazines for so long that Beatty the actor can bring a conviction to George's desperate bedroom escapades that few other actors could approach without unseemly narcissism.
David Brown came to lunch at Chez Paul carrying a little brown paper bag, but not because he'd brought sandwiches. No, the bag contained a portable tape recorder, and Brown asked if I'd mind if he and Richard Zanuck taped part of the interview. Now THAT'S curious, I thought, since I'm the one who's doing the interview, and all I brought was my Pentel Rolling Marker.
HOLLYWOOD - The way Bruce Dern tells the story, Alfred Hitchcock looked him up and down, paused, sighed, and said: "Who would ever have believed after all these years that YOU would be my leading man?"
HOLLYWOOD - Robert Mitchum is wearing this...tie. It features bold horizontal stripes of green and glittering gold. "Look at the damn thing, will ya?" he says. It is like no tie anyone has ever seen before, and the tag on its back says Space Delicious.
HOLLYWOOD - There is a new Hollywood and an old Hollywood, but always there is the timeless Hollywood that murmurs in the sequestered Polo Lounge of the Beverly Hills Hotel.
At 8:20 p.m., the body artist Chris Burden entered a large gallery of the Museum of Contemporary Art, did not look at his audience of 400 or more, set a clock for midnight, and lay down on the floor beneath a large sheet of plate glass that was angled against the wall.
The kinds of films he likes to make are just the ones the studios are most wary about, John Schlesinger was complaining. And so he spends too much time turning down nice, tidy commercial subjects and trying to get, his latest dreams off the ground. He's made three movies in the last six years, and each one has borne the stamp of his temperament and successfully dealt with unlikely subject matter.
It's a notion that takes some growing used to, but Pauline Kael makes her case persuasively: "Almost every interesting American movie in the past few years has been directed by a Catholic." And then she names the three directors she feels are making the most exciting movies right now: Francis Ford Coppola, an Italian-American; Martin Scorsese, who grew up in New York's Little Italy with a Sicilian background; and, above all, Robert Altman, a German-American Catholic from Kansas City.
Vincent Canby was born in Barrington and got his first newspaper job in 1948 on the old Chicago Journal of Commerce. In 1951, he left Chicago to take a job with lousy pay at Variety in New York. That job eventually led to his present one - as principal film critic of the New York Times. But in a more abstract way, he sees his move as a small personal example of an American turning of the tide. And that's one theme of his new novel, "Living Quarters," (Knopf, $6.95).
"'The Volkswagen piece?'" Chris Burden was saying. "Let's see. I was standing on the rear bumper of a VW bug, nailed to the roof of the car through the palms of my hands. The car was inside a garage, and the spectators were outside.