A thorough and thoroughly conventional, look at the first astronaut to set foot on the moon.
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.
Andy Warhol forgot to come to Chicago again Thursday. "It's a funny thing," the pop artist and underground filmmaker said. "It's like I keep forgetting to come to Chicago."
On the sidewalk in front of the Ivanhoe Theatre, the watchers were watching the watchers watched. There were six television cameras and the lights and announcers to attend to them, a couple of dozen newspaper reporters, and a large quantity of adolescent girls and neighborhood ladies. There were no police lines to separate these people into the professionally and the merely curious, and so they seeped back and forth through each other like the tide, first the cameramen and then the neighborhood ladies being thrown up upon the curb.
It will happen like this. A nurse will lead M clown an antiseptic corridor to a door without a number. She will open the door and step back to reveal a darkened room. M, peering into the gloom, will discover a figure swathed in bandages and sitting in a wheelchair.
The first thing after the lights went out was this little pudding-faced girl on the screen, jammed into a subway crowd, trying to buy her ticket and get through the gates and onto the train.
Dick Van Dyke's new film is titled "Divorce American Style," and he can't get over it.
Robert Morley opened the door and stood inside, beaming and nodding and making desperate gestures with his right hand, which held a large pocket-handkerchief.
To begin with there was a little girl out in the hallway with long black hair and white bell-bottom trousers. She was sitting on a bench by the elevator, looking across the hallway into a mirror, which showed her sitting on a bench by the elevator.
HOLLYWOOD - "The mustard! Watch the blasted mustard!"
"One of the times I remember best," Bob Hope said, "was the night they changed the script on Humphrey Bogart.
The way it happened that he came to Chicago, Alan Arkin said, was that after he quit singing with the Tarriers he fooled around in New York for awhile, a few acting jobs and a few office jobs that mostly fell through because he couldn't stand working in an office, and then he went out to St. Louis to work with an improvisational group.