Like any good yarn, the characters and the story represent something more than what’s on the page. 1967 : 1. Both films feature actors with whom the director has worked with numerous times, often on their most notable projects. A scene from Terrence Malick's The Tree of Life.". He has to keep trying to amplify its power and payout, inviting violent retribution from the people he owes money to, and public humiliation by the pro basketball star (Kevin Garnett, in a marvelous and altogether surprising performance) who treats the gem with mystical reverence. “The Souvenir,” punctuated by perfectly-chosen needle-drops, gets deeper with each re-watch. I see new details and ideas every time I watch or read about “Us”; I’m especially taken with writer/director Jordan Peele’s densely layered and lavishly realized scenario (previously written about in this earlier piece and this one, too). Emile Mosseri's woodwind-heavy score elevates the landmarks that cinematographer Adam Newport Berra captures with great affection, all of it recalling the home's warm wooden interiors. Anthony is exciting and cultured, pushing her to think deeper about her art. He was an early supporter of such noted directors as Martin Scorsese, Spike Lee and Werner Herzog, and his published collections of film criticism offered a bracing celebration of cinematic innovation and emotional clarity (and, in the case of "I Hated, Hated, HATED This Movie," a piercing cry against mediocrity). © 2013 CBS Interactive Inc. All Rights Reserved. Bio: Roger Ebert account that compiles all of his ratings into Letterboxd. Washington, D.C., locks down as inauguration events kick off, He wanted me dead." There may be no such thing as the sweet life. The decade ended with one of its best years in film, a 12-month period filled with unique, personal visions across the spectrum of genre and budget. What Herzog sees in the story, I think, is what he finds in many of his films: Men haunted by a vision of great achievement, who commit the sin of pride by daring to reach for it, and are crushed by an implacable universe. In all three of her previous feature-length directorial efforts, which she has referred to as an unofficial trilogy, Sciamma has displayed an unparalleled eye for capturing the complicated dynamics between women and their struggle to define themselves despite societal strictures. Writer/director Noah Baumbach shows us that like the Kubler-Ross stages, divorce means cycling in shuffle mode through denial ("we don't need lawyers; we can be civil and cooperative"), bargaining, depression, and anger, sometimes mingled. Roger Ebert disliked this classic nineties crime film enough to give it one and a half stars; although, to his credit, he did watch it a second time to see if perhaps he had been wrong. 'Maybe Rosebud was something he couldn't get, or something he lost,' says Thompson, the reporter assigned to the puzzle of Kane's dying word. There were once several directors who yearned to make no less than a masterpiece, but now there are only a few. Favorites: 2001: A Space Odyssey (1968), Aguirre, the Wrath of God (1972), Citizen Kane (1941), The Tree of Life (2011). He had a house collapse around him. With Ozu, it's as if the characters are living their lives unaware that a movie is being shot. Herzlich Willkommen auf unserer Webpräsenz. Richard Roeper Roger Ebert; 1. In the audience is Federico, the subject for whom this play was written. "The genius is not in how much Stanley Kubrick does in '2001: A Space Odyssey,' but in how little. hile it mourns an urban landscape losing its soul, it just as intensely celebrates identity and friendship. The Battle of Algiers (1966) 2. Rather than look for themes this year, it’s even more rewarding to consider how different these 20 films are from one another, hailing from all over the world and standing tall. Bonnie and Clyde (1967) 2. His main issue with the film was the plot itself, which he felt to be a whole lot of complexities that add up to less than nothing. Crouching Tiger Hidden Dragon: 1. Roger Ebert's best movie lists from 1967-present. Reflections In a Golden Eye (1967) 8. TV Shows. A Man For All Seasons (1966) 6. When he cannot have her, he finds another woman and tries to mold her, dress her, train her, change her makeup and her hair, until she looks like the woman he desires. . ... "Today I look at Keaton's works more often than any other silent films. 1. ", "Vertigo" (1958) directed by Alfred Hitchcock, " 'Vertigo,' which is one of the two or three best films Hitchcock ever made, is the most confessional, dealing directly with the themes that controlled his art. So while Gabe sulks every time he’s called out for over-indulging himself, Adelaide fusses and clings to young Jason (Evan Alex), because her mask-wearing son is just as angry as she is—he’s just learning how to hide it better. "The Last Black Man in San Francisco" is too full of life to be simply angry about the forces arrayed against Jimmie, and tenderness and humor arise from its gorgeous heart. (Matt Zoller Seitz). Marcello Mastroianni and Anita Ekberg in "La Dolce Vita," directed by Federico Fellini. ", "Tokyo Story" (1953) directed by Yasujiro Ozu. I could write another entire essay about the house where all this intrigue plays out. Banderas muddies the waters by subtly taking on some of the physical characteristics of Almodóvar in his superb performance. Ebert's other top lists are at this site's Movie Lists page. Almodóvar adds a personal touch to his story, however, by casting eight-time collaborator Antonio Banderas as a thinly-veiled version of himself. A scene from "Tokyo Story" (1953), directed by Yasujiro Ozu. Talbot’s film becomes sentimental in the most cinematic way. But maturity doesn’t mean Almodóvar has retired any of his usual, fun tricks. Both of them use their cameras as largely impassive, honest observers. In fact, the whole movie can be distilled into the flashback in which Robert De Niro’s Frank Sheeran remembers making German soldiers dig their own graves, wondering aloud why they keep digging when they know they’re just going to die. 2010 has a typical Top … Banderas plays Salvador, a director whose film, “Sabor” is celebrating the same 32nd anniversary milestone as the third Almodóvar-Banderas pairing, “Law of Desire.” This is just one of several instances of the twisty meta details sprinkled throughout “Pain and Glory,” elements that keep the director’s biggest fans in a state of conspiratorial glee; the intentional similarities inspire numerous thoughts about where the lines of truth and fiction blur, if they do at all. It’s the latest unforgettable instance of Sciamma’s signature motif, namely the synchronicity practiced by those who wish to join as one, whether it be swimmers, allies, or lovers. Some of our greatest filmmakers returned with work that felt like commentaries on their entire careers while new voices were added to the cinematic conversation. ", "2001: A Space Odyssey" (1968) directed by Stanley Kubrick. But mostly, this is a film you truly must experience—preferably on the biggest screen you can find—to understand the subtlety and surprise in store from master filmmaker Bong Joon Ho. In Joanna Hogg's films, the camera frame is a proscenium arch, with actors moving in and out of the space, talking off-screen, sometimes having full arguments off-screen. They have such a graceful perfection, such a meshing of story, character and episode, that they unfold like music. Despite the seeming limitations of serving as the co-host of a syndicated TV review show and plying his trade in the Midwest (where distribution of independent or foreign-language films can be spotty at best), Ebert helped shine a light on deserving films to millions. 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