Film Critic Roger Ebert Has Passed Away At Age 70

[the next guy]

Mr. Ebert. Fought the good fight...

Always loved this pic of Siskel at the Bulls game. I would always look for him during the home games on WGN. He had this same seat. He's right below Dennis's chest...

The 1990's

 

[RajWatts]

heres his last review of an actual quality flick:

The Impossible :: rogerebert.com :: Reviews

The tsunami that devastated the Pacific Basin in the winter of 2004 remains one of the worst natural disasters in history. Although I assumed its climax, as shown in Clint Eastwood’s film “Hereafter” (2010), would never be surpassed, that was before I had seen “The Impossible.” Here is a searing film of human tragedy.

We were London in 2004 when the disaster struck, and later we sat mesmerized in Biarritz, watching the news on television. Again and again, the towering wall of water rose from the sea, tossing trucks, buses and its helpless victims aside. Surely this was a blow from hell.

The victims in Eastwood’s film beheld it afar on home video. In director Juan Antonio Bayona’s “The Impossible,” they seem lost in it, engulfed by it, damned by it.

As “The Impossible” begins, all is quiet at a peaceful resort beach in Thailand. Seconds later, victims are swept up like matchsticks. The film is dominated by human figures: a young British couple, Maria and Henry Bennett (Naomi Watts and Ewan McGregor), and their three young sons, Lucas, Simon and Thomas (Tom Holland, Oaklee Pendergast and Samuel Joslin). All five fear they will never see their loved ones again.

In the earlier Eastwood film, they seem the victims of cruel destiny singling out a fate, perhaps foretold. In the Bayona film, have they been doomed by destiny? Seated in a dark theater, I reached out my hand for that of my wife’s. She and I had visited the same beach and discussed visiting it with our children and grandchildren. An icy finger ran slowly down our spines.

Such a connection can be terrifying. What does it mean? We are the playthings of the gods. As the film’s heroine, Naomi Watts powerfully becomes a front-runner for an Academy Award. Its eldest young hero, Lucas (Holland), separated from all, seeks tirelessly for fellow family members. How did anyone possibly survive? It takes a lot of courage for the little boy to bravely try to help others.

Spoilers follow, although the trailer and TV commercials reveal many of them. I’m happy I was blindsided by the story. We meet the Bennetts aboard a flight beginning their family holiday in Khao Lak, Thailand. We almost feel, rather than hear, a deeply alarming shift in the atmosphere. Something is fundamentally wrong. We see the tsunami from the tourists’ point of view. There is a shift in the universe, leaving behind a dazed group whose world is a jumble of destruction. They wander through the wreckage.

Maria is terrifyingly knocked through a glass wall and realizes she can see her son Lucas’ tiny head and body struggling to stay afloat in the surging flood waters. With indomitable strength and courage, she clings to debris, and they find themselves in a makeshift hospital that seems to have been somehow cobbled together. We realize she is the most seriously injured and begins to drift into and out of consciousness. She is a medical doctor and applies emergency first aid to herself.

Henry, tough and plucky, screams out the names of his two younger sons and loads them onto a truck bound for higher ground. The geographical layout miraculously seems halfway familiar to us after dozens of hours of cable news. All of those YouTube videos uploaded by strangers have been populated by characters we think of as people we know.

The film’s most dramatic sequences focus on Lucas, assigning himself the role of his mother’s lifeguard and protector. Now again, at another holiday season, this film becomes a powerful story of a family’s cohesive strength.

Director Juan Antonio Bayona and writer Sergio G. Sanchez combine visual effects in this film that are doubly effective because they strive to do their job without calling undue attention. It is a mark of great acting in a film when it succeeds in accomplishing what it must precisely when it is required. “The Impossible” is one of the best films of the year.

 

[HipHopStan]

One of my favorite put downs by Roger Ebert:


"Transformers: Revenge of the Fallen" is a horrible experience of unbearable length, briefly punctuated by three or four amusing moments. One of these involves a dog-like robot humping the leg of the heroine. Such are the meager joys. If you want to save yourself the ticket price, go into the kitchen, cue up a male choir singing the music of hell, and get a kid to start banging pots and pans together. Then close your eyes and use your imagination."

http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20090623/REVIEWS/906239997

That ether...

 

[Luke Cage]

he was the only critic whose opinion i took into consideration.

i guess him and siskel are gonna judging folks from heaven.

 

[Honga Ciganesta]

When Roger Ebert hates a film, he really doesn’t mince words about it. Here are 10 films he absolutely loathed (including a couple of surprises) and his dry assessments of their value.

1. Armageddon, one star. OK, say you do succeed in blowing up an asteroid the size of Texas. What if a piece the size of Dallas is left? Wouldn't that be big enough to destroy life on Earth? What about a piece the size of Austin? Let's face it: Even an object the size of that big Wal-Mart outside Abilene would pretty much clean us out, if you count the parking lot.

2. The Brown Bunny, zero stars. I had a colonoscopy once, and they let me watch it on TV. It was more entertaining than The Brown Bunny.

When the movie’s director responded by mocking Ebert’s weight, Ebert said, “It is true that I am fat, but one day I will be thin, and he will still be the director of The Brown Bunny."

3. Jason X, half star. "This sucks on so many levels." Dialogue from "Jason X"; rare for a movie to so frankly describe itself. "Jason X" sucks on the levels of storytelling, character development, suspense, special effects, originality, punctuation, neatness and aptness of thought.

4. Mad Dog Time, zero stars. "Mad Dog Time" is the first movie I have seen that does not improve on the sight of a blank screen viewed for the same length of time. Oh, I've seen bad movies before. But they usually made me care about how bad they were. Watching "Mad Dog Time" is like waiting for the bus in a city where you're not sure they have a bus line.... "Mad Dog Time" should be cut into free ukulele picks for the poor.

5. The Usual Suspects, one-and-a-half stars. Once again, my comprehension began to slip, and finally I wrote down: "To the degree that I do understand, I don't care." It was, however, somewhat reassuring at the end of the movie to discover that I had, after all, understood everything I was intended to understand. It was just that there was less to understand than the movie at first suggests.

6. Deuce Bigalow: European Gigolo, zero stars. [The title character] makes a living prostituting himself. How much he charges I'm not sure, but the price is worth it if it keeps him off the streets and out of another movie. "Deuce Bigalow" is aggressively bad, as if it wants to cause suffering to the audience. The best thing about it is that it runs for only 75 minutes.... Speaking in my official capacity as a Pulitzer Prize winner, Mr. Schneider, your movie sucks.

7. North, zero stars. I hated this movie. Hated hated hated hated hated this movie. Hated it. Hated every simpering stupid vacant audience-insulting moment of it. Hated the sensibility that thought anyone would like it. Hated the implied insult to the audience by its belief that anyone would be entertained by it.

8. Spice World, half star. Spice World is obviously intended as a ripoff of A Hard Day's Night which gave The Beatles to the movies...the huge difference, of course, is that the Beatles were talented--while, let's face it, the Spice Girls could be duplicated by any five women under the age of 30 standing in line at Dunkin' Donuts.

9. Good Luck Chuck, one star. There is a word for this movie, and that word is: Ick.

10. Freddy Got Fingered, zero stars. This movie doesn't scrape the bottom of the barrel. This movie isn't the bottom of the barrel. This movie isn't below the bottom of the barrel. This movie doesn't deserve to be mentioned in the same sentence with barrels.

I believe that if, at the end of it all, according to our abilities, we have done something to make others a little happier, and something to make ourselves a little happier, that is about the best we can do. To make others less happy is a crime. To make ourselves unhappy is where all crime starts. We must try to contribute joy to the world. That is true no matter what our problems, our health, our circumstances. We must try. I didn’t always know this, and am happy I lived long enough to find it out.

:sadfed:

 

[Rarely-Wrong Liggins]

Ain't nobody gonna drop that ether no more. It's going to be a free for all. These new age critics are too scared to really get at these movies like Ebert did. I know studios were like :devious: waiting for him to go.

 

[HHR]

I legitimately welled up a little when I saw this news today.

A horrible loss of a terrific man.

RIP.

 

[Stress Welker]

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[Roid Jones]

RIP

 

[FocusedDaily]

RIP I I remember when I was 13 I somehow got a giant paperback collection of his movie reviews. I'd go through and read all the 4 star reviews and 1/2 star ones then make a list and beg my parents to let me get a couple from the video store whenever I could..

to this man for all the great times spent watching those flicks as a young teen during cold Chicago winter days.

 

[Ku$h Parker]

He Talked Down on The Usual Suspects tho???

 

[Azul]

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[jackswstd]

 

[StatUS]

Damn, I always liked how he gave 3 stars to damn near anything unless it was straight trash

 

[kingofnyc]

rip