John Wick: Chapter Two
John Wick: Chapter Two demonstrates what film as an art form is all about: it awes and delights, challenges and provokes.
Rory Culkin
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Intruders (2016)
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Brian Tallerico -
Gabriel (2015)
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Gabriel
Matt Zoller Seitz -
Hick (2012)
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Clement
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Scre4m (2011)
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Charlie Walker
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Lymelife (2009)
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Scott
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The Night Listener (2006)
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Pete
Jim Emerson -
Down in the Valley (2006)
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Lonnie
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Mean Creek (2004)
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Sam
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It Runs in the Family (2003)
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Eli Gromberg
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Signs (2002)
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Morgan Hess
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You Can Count on Me (2000)
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Rudy
Roger Ebert
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
Sundance 2017 Announces Competition Titles
The competition titles for Sundance 2017 have been announced.
#160 March 20, 2013
Marie writes: It's no secret there's no love lost between myself and what I regard as London's newest blight; The Shard. That said, I also love a great view. Go here to visit a 360-degree augmented-reality panorama from the building's public observation deck while listening to the sounds of city, including wind, traffic, birds and even Big Ben.
#113 May 2, 2012
HAPPY BELATED BIRTHDAY TO THE EBERT CLUB!
Notes on my homework: The Prestige and Signs
Knowing that the summer would bring new releases by two of today's most "controversial" (as Entertainment Weekly might put it) auteurs -- M. Night Shyamalan and Christopher Nolan (one with a critical reputation on a downward slide, the other on the upswing) -- it seemed like a good time to plug some notable gaps in my experience of their filmographies. I still haven't seen Shyamalan's pre-"Sixth Sense" features, "Praying with Anger" (1992) or "Wide Awake" (1998), or Nolan's pre-"Memento" chronology-shifter, "Following" (1998) -- which, the credits reveal, features a thief named Cobb, like "Inception." More significantly, I suppose, I hadn't seen (all of) Shyamalan's hit "Signs" (2002), or any of Nolan's "The Prestige" (2006) -- the former because it just hadn't held my interest the first time I tried to watch it and the latter because my critic-friends who'd seen it were unanimous in finding it dull and uninspired.
Of the feel of theaters and audiences, and eight films from Sundance
I saw my final film of Sundance 2010 here in Chicago. It was my best Sundance experience, and I want to tell you why. The film was "Jack Goes Boating," the directorial debut of Philip Seymour Hoffman. It played here in the Music Box, as part of the "Sundance USA" outreach program, which has enlisted eight art theaters around the country to play Sundance entries while the festival is still underway.
The Music Box is the largest surviving first run movie palace in Chicago. It is deeper than it is wide, and has an arching ceiling where illusory clouds float and stars twinkle. Many shows are preceded by music on the organ.
Toronto festival winners
By Roger Ebert
Starting off the season
TORONTO -- In the beginning, its organizers were happy to sell out a 500-seat theater. Now the Toronto Film Festival requires 35 theaters and assorted screening rooms, starting with the 2,800-seat Roy Thomson Hall. If you're a moviegoer in central Toronto and want to avoid the festival, you've got your work cut out for you.
Ebert's 2006 summer/fall round-up
Film festivals allow you to get way ahead on your movie viewing. At Sundance, Cannes, Telluride and Toronto you can see movies that will be released throughout the coming year and into the next. That's what Roger Ebert does every year, and here are some of the movies he's already written about for the next few months, into November....
Sundance #3: Role challenged Tunney
PARK CITY, Utah – Robin Tunney sits in the corner of an empty coffee house and smiles about the fact that her TV series “Prison Break” has made her recognizable everywhere she goes. “It’s not something I pursued, doing TV. I’ve been broke in my career, and that’s okay. I love doing indie films.”
A sense of urgency -- and edginess
CANNES, France -- There are two species of journalists at Cannes, described by the festival as critics or chroniclers. The critics review the films. The chroniclers write the gossip, review the fashions, attend the press conferences and pray for scandal. One year, Jean-Claude Van Damme and Dolph Lundgren (remember them?) got in a pushing match on the steps of the Palais, and the chroniclers dined out for a week. The critics, however, savor moments of quieter savagery, as when Dogma founder Lars von Trier didn't win the top prize from a jury headed by Roman Polanski, and accepted his lesser award ''with no thanks to the midget.''
