movie Glossary
Nothing? Nothing Will Come Of Nothing!
If a character has something he finds hard to say, the dialogue will goes like this: "John?" "Yeah?" (Brief pause.) "Nothing." WILL GRIFFIN, Bristol, UK.
more »
|  | |
"This is the best use of 3-D I've ever seen," I say to Ang Lee. And I mean it. His "Life of Pi," based on Yann Martel's novel about a shipwrecked boy, is an astonishment, not least because it never uses 3-D for its effect, but instead as a framing device for the story as a whole. There are, for example, shots where the point of view is below the sea's surface, looking up at the boat and into the sky beyond. The surface of the sea seems to be an invisible membrane between the water and the air. I've never seen anything like it.
Mulholland Dr. (R) (2001)
It's well known that David Lynch's "Mulholland Dr." was assembled from the remains of a cancelled TV series, with the addition of some additional footage filmed later. That may be taken by some viewers as a way to explain the film's fractured structure and lack of continuity. I think it's a delusion to imagine a "complete" film lurking somewhere in Lynch's mind — a ghostly Director's Cut that exists only in his original intentions. The film is openly dreamlike, and like most dreams it moves uncertainly down a path with many turnings.
ebert's dvd commentaries
| |
My friend Bill Nack and I sat in the coffee shop of the student union and chortled like escape artists. We couldn't believe our good luck. You could actually get a university degree just by reading books and writing about them! Students in other majors had to, you know, actually study. I make it sound too easy, and I sweated some exams, but now in my autumnal glow those undergraduate years are bathed in wistful nostalgia. My image is of myself walking down the quadrangle at Illinois, my shoes kicking at leaves, my briefcase containing a couple of novels, some poetry, and of course some fun reading, which could include, I recall, Herbert Gold, John Updike, Katherine Anne Porter and Playboy--for the good fiction, you understand.
I'm double-posting my review of "Skyfall" to encourage comments, which my main site can't accept.[...] The movie's innovations begin in its first shots, which abandon the familiar stalking silhouettes in the iris lens, and hit the ground running. Bond and another agent are in Istanbul, chasing a man who has stolen a crucial hard drive, and after a chase through city streets (involving no less than three Fruit Cart Scenes), 007 is running on top of a train. We know from earlier films that Bond can operate almost anything, but "Skyfall" incredibly has him commandeer a giant Caterpillar and continue the chase by crushing a flatcar stacked with VW Beetles.
One of the readers of this blog asked a few days ago if audiences absolutely demand that movies be linear and realistic. The question came in the thread about "Cloud Atlas," which in fact is realistic, at least in the sense that we understand stories set in the past and in the future--although we don't often get six of them in the same film. There's nothing in the film we can't understand in the moment, although we may be hard-pressed to understand how, or if, they fit together. And if the actors play multiple characters of various races, genders and ages, well, we understand that too.
Follow @ebertchicago on Twitter
We can be very glad Barack Obama won his bid for re-election for reasons that have nothing to do with politics. Unlike Obama, his defeated opponent is, to put it gently, not a gifted public speaker. He actually has a warm and semi-mellifluous voice when speaking in a normal tone into a microphone; the best parts of his TV commercials were when he said he was Mitt Romney and he "approved this message. " Up on stages and platforms, however, he displayed little talent for galvanizing a crowd, or even holding attention.
Writer-director-producer David Simon (creator of "The Wire," "Generation Kill," "Treme") has a piece at Salon headlined: "Media's sex obsession is dangerous, destructive"), in which he eviscerates Roger Simon (no relation) for his Politico column, "Gen. David Petraeus is dumb, she's dumber." And The Week offers a round-up of the coverage, " The David Petraeus affair: Why the media's coverage is sexist." I don't know. "Sexist" seems like an understatement. Puerile, snotty, crass, raunchy, snide, scary, onanistic, stupid, instructive, pointless -- it's all those things, too. At the very least.
"Skyfall" is a theatrical film in the same way that its director, Sam Mendes, is a theatrical filmmaker. That is, its approach to organizing space for an audience (the camera lens) is noticeably stagey. I mean that in a "value-neutral" way. I just mean the frame is frequently used as a proscenium and the images are action-tableaux deployed for a crowd -- whether it's the designated audience surrogates in the movie (bystanders or designated dramatis personae), or the viewers in the seats with the cup-holders. That's not to say it's entirely uncinematic (it's photographed by Roger Deakins!), but many of the set-pieces in "Skyfall" are conceived and presented as staged performance pieces.
I packed my bags last night, pre-flight
Zero hour, 9 a.m.
And I'm gonna be high as a kite by then.-- Elton John & Bernie Taupin, "Rocket Man" (1972) Cinema, for me, has always been something like music composed with photographic images. Others see it more like "action painting," and we've seen a lot of discussion in recent years about what J. Hoberman and others have called "post-photographic cinema," in which computers have replaced cameras, and animation has replaced photography, as the primary means of creating images on a screen. (Hoberman: "With the advent of CGI, the history of motion pictures was now, in effect, the history of animation.") "Flight" is Robert Zemeckis's return to live-action photography for the first time since "Cast Away" (2000), after a series of IMAX 3D animated adventures: "The Polar Express" (2004), "Beowulf" (2001) and "A Christmas Carol" (2007). It's also a return to making movies aimed at an adult audience -- and one that proved to be a different, and more interesting, than the movie I'd seen advertised in the trailer.
Opening Shot Project Index
• Omer M. Mozaffar in Chicago(Minor Spoilers Abound)Sam Mendes' "Skyfall" (2012) provides us with one of the best of all the twenty-something James Bond films. It is full of toys, though a different set of toys than we might expect, placing far more focus on the heroes' stories than the villain's plotting. Is there even a real Bond-girl in this movie? And, what about the Bond car? It seems strangely familiar. Rather, whatever traditional Bond characters and trinkets this film skips or skimps on, it replaces with gigabytes of substance. Like you, I have seen all the Bond films - most of them multiple times - even though some of them are just not that good. But, they are James Bond movies, so it becomes almost a duty to the Queen keep up with them as times continue to change. This one, thankfully, is fantastic.
• Seongyong Cho in South KoreaWhile he has been called "the Master of Suspense," Alfred Hitchcock has also been called "the Master of the Macabre," and that title is exemplified by his delightful black comedy "The Trouble with Harry" (1955). On the surface, it looks quite atypical compared to Hitchcock's more famous works, but this is a vintage story from a great director with a wry sense of humor, and it is also one of the most liveliest works in his exceptional career. Although somebody is dead, there is no suspense or danger or blond lady in the movie, and all we have to do is leisurely enjoy a pleasant walk with its funny characters as they try to deal with bizarre trouble on one fine autumn day in their ordinary peaceful rural town in Vermont.
• Michael Calleri in BuffaloWhat you are about to read may shock you. It's all true, and it happened to me. It involves censorship and the movies and one man's loathing of strong contemporary women. I love motion pictures, and I love writing about them. I have been a movie critic in Buffalo, New York for a number of years. Reviewing films rose out of my passion for both journalism and cinema, the perfect combination.
by Odie HendersonThe cinema of 2012 is brought to you by Viagra, or so it seems. The year has been chock full of movies about horny old people. Sure, the characters still complain, have aches and pains, and deal with moments both senior and regrettable. But Nana's also out to prove she's still got the ill na na, and Gramps is in the mood like Glenn Miller on an endless loop. Films like Dustin Hoffman's "Quartet," with its randy Billy Connolly, and the main characters of Stephane Robelin's "All Together" dispel the myth that once you go gray, the sex goes away. These folks are reclaiming "bitch and moan" from its grumpy origins, and turning the phrase into a cause-and-effect relationship.
by Jeff ShannonOctober, 1961: A New York fashion model on the verge of Hollywood stardom, 31-year-old Tippi Hedren (Sienna Miller) is invited to a celebratory lunch with legendary film director Alfred Hitchcock (Toby Jones) and his wife Alma (Imelda Staunton), who's also his long-time collaborator. A divorced single mother (of future actress Melanie Griffith, then four years old), Hedren is plucked from obscurity to star in "The Birds," Hitchcock's highly anticipated follow-up to his phenomenally successful 1960 thriller, "Psycho." After Alma sees her in a TV commercial ("I like her smile," she says to "Hitch"), she arranges a meeting. Secretly smitten, Hitchcock directs Hedren's screen test in his own Bel Air home and, shortly thereafter, offers a toast.
by Donald LiebensonIn begrudgingly recommending "Paul Williams Still Alive" to his legion of fans, I am reminded of a Rolling Stone magazine review of Janis Joplin's first solo album, "I Got Dem Ol' Kozmic Blues Again Mama!" Janis never sounded better, the reviewer said, but to enjoy her, you had to be able to tune out her backup band. A similar caveat is necessary here. Enjoyment of "Still Alive" will depend on your tolerance of writer-director Stephen Kessler, who takes Williams' joke at one point that the documentary could become the "Paulie and Steve Show" as a carte blanche invitation to intrude on the proceedings.
watch ebert's great movies | |
|
RSS Headlines
