Review of The Tree of Life (2 June 2011) http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20110602/REVIEWS/110609998
Reviews, Four star reviews
Context: Terrence Malick's The Tree of Life is a film of vast ambition and deep humility, attempting no less than to encompass all of existence and view it through the prism of a few infinitesimal lives. The only other film I've seen with this boldness of vision is Kubrick's 2001: A Space Odyssey, and it lacked Malick's fierce evocation of human feeling. … I don't know when a film has connected more immediately with my own personal experience. In uncanny ways, the central events of The Tree of Life reflect a time and place I lived in, and the boys in it are me. If I set out to make an autobiographical film, and if I had Malick's gift, it would look so much like this. … There is a father who maintains discipline and a mother who exudes forgiveness, and long summer days of play and idleness and urgent unsaid questions about the meaning of things. … The film's portrait of everyday life, inspired by Malick's memories of his hometown of Waco, Texas, is bounded by two immensities, one of space and time, and the other of spirituality. The Tree of Life has awe-inspiring visuals suggesting the birth and expansion of the universe, the appearance of life on a microscopic level and the evolution of species. This process leads to the present moment, and to all of us. We were created in the Big Bang and over untold millions of years, molecules formed themselves into, well, you and me.
And what comes after? In whispered words near the beginning, "nature" and "grace" are heard. … The film's coda provides a vision of an afterlife, a desolate landscape on which quiet people solemnly recognize and greet one another, and all is understood in the fullness of time.
Roger Ebert: Film
Roger Ebert was American film critic, author, journalist, and TV presenter. Explore interesting quotes on film.
Review of Magnolia in Chicago Sun-Times (7 January 2000) http://www.rogerebert.com/reviews/magnolia-2000
Reviews, Four star reviews
Context: Magnolia is operatic in its ambition, a great, joyous leap into melodrama and coincidence, with ragged emotions, crimes and punishments, deathbed scenes, romantic dreams, generational turmoil and celestial intervention, all scored to insistent music. It is not a timid film. … The movie is an interlocking series of episodes that take place during one day in Los Angeles, sometimes even at the same moment. Its characters are linked by blood, coincidence and by the way their lives seem parallel. Themes emerge: the deaths of fathers, the resentments of children, the failure of early promise, the way all plans and ambitions can be undermined by sudden and astonishing events. … All of these threads converge, in one way or another, upon an event there is no way for the audience to anticipate. This event is not "cheating," as some critics have argued, because the prologue fully prepares the way for it, as do some subtle references to Exodus. It works like the hand of God, reminding us of the absurdity of daring to plan. And yet plan we must, because we are human, and because sometimes our plans work out.
Magnolia is the kind of film I instinctively respond to. Leave logic at the door. Do not expect subdued taste and restraint, but instead a kind of operatic ecstasy. At three hours it is even operatic in length, as its themes unfold, its characters strive against the dying of the light, and the great wheel of chance rolls on toward them.
Review of Magnolia (1999), in review for Great Movies (27 November 2008) http://www.rogerebert.com/reviews/great-movie-magnolia-1999
Reviews, Four star reviews
Context: Magnolia is a film of sadness and loss, of lifelong bitterness, of children harmed and adults destroying themselves. As the narrator tells us near the end, "We may be through with the past, but the past is never through with us." In this wreckage of lifetimes, there are two figures, a policeman and a nurse, who do what they can to offer help, hope and love. … The central theme is cruelty to children, and its lasting effect. This is closely linked to a loathing or fear of behaving as we are told, or think, that we should. … As an act of filmmaking, it draws us in and doesn't let go. It begins deceptively, with a little documentary about amazing coincidences (including the scuba diver scooped by a fire-fighting plane and dumped on a forest fire) … coincidences and strange events do happen, and they are as real as everything else. If you could stand back far enough, in fact, everything would be revealed as a coincidence. What we call "coincidences" are limited to the ones we happen to notice. … In one beautiful sequence, Anderson cuts between most of the major characters all simultaneously singing https://www.youtube.com/watch?v=aNmKghTvj0E Aimee Mann's "It's Not Going to Stop." A directorial flourish? You know what? I think it's a coincidence. Unlike many other "hypertext movies" with interlinking plots, Magnolia seems to be using the device in a deeper, more philosophical way. Anderson sees these people joined at a level below any possible knowledge, down where fate and destiny lie. They have been joined by their actions and their choices.
And all leads to the remarkable, famous, sequence near the film's end when it rains frogs. Yes. Countless frogs, still alive, all over Los Angeles, falling from the sky. That this device has sometimes been joked about puzzles me. I find it a way to elevate the whole story into a larger realm of inexplicable but real behavior. We need something beyond the human to add another dimension. Frogs have rained from the sky eight times this century, but never mind the facts. Attend instead to Exodus 8:2, which is cited on a placard in the film: "And if thou refuse to let them go, behold, I will smite your whole territory with frogs." Let who go? In this case, I believe, it refers not to people, but to fears, shames, sins.
Magnolia is one of those rare films that works in two entirely different ways. In one sense, it tells absorbing stories, filled with detail, told with precision and not a little humor. On another sense, it is a parable. The message of the parable, as with all good parables, is expressed not in words but in emotions. After we have felt the pain of these people, and felt the love of the policeman and the nurse, we have been taught something intangible, but necessary to know.
First published in the "Movie Answer Man" column (25 July 2004) http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20040725/ANSWERMAN/407250305
Context: Many moviegoers and video viewers say they do not "like" black and white films. In my opinion, they are cutting themselves off from much of the mystery and beauty of the movies.
Black and white is an artistic choice, a medium that has strengths and traditions, especially in its use of light and shadow. Moviegoers of course have the right to dislike b&w, but it is not something they should be proud of. It reveals them, frankly, as cinematically illiterate.
I have been described as a snob on this issue. But snobs exclude; they do not include. To exclude b&w from your choices is an admission that you have a closed mind, a limited imagination, or are lacking in taste.
“Once again, he has silenced the doubters by simply delivering an extraordinary film.”
Review http://www.rogerebert.com/reviews/avatar-2009 of Avatar (11 December 2009)
Reviews, Four star reviews
Context: Watching Avatar, I felt sort of the same as when I saw Star Wars in 1977. That was another movie I walked into with uncertain expectations. James Cameron's film has been the subject of relentlessly dubious advance buzz, just as his Titanic was. Once again, he has silenced the doubters by simply delivering an extraordinary film. There is still at least one man in Hollywood who knows how to spend $250 million, or was it $300 million, wisely.
Awake in the Dark: The Best of Roger Ebert (2006)
Context: Herzog by his example gave me a model for the film artist: fearless, driven by his subjects, indifferent to commercial considerations, trusting his audience to follow him anywhere. In the 38 years since I saw my first Herzog film, after an outpouring of some 50 features and documentaries, he has never created a single film that is compromised, shameful, made for pragmatic reasons or uninteresting. Even his failures are spectacular.
“This is a masterful and heartbreaking film, and it does honor to the memory of the victims.”
Review https://web.archive.org/web/20130707210114/http://www.rogerebert.com/reviews/united-93-2006 of United 93 (27 April 2006)
Reviews, Four star reviews
Context: It is not too soon for "United 93," because it is not a film that knows any time has passed since 9/11. The entire story, every detail, is told in the present tense. We know what they know when they know it, and nothing else. Nothing about Al Qaeda, nothing about Osama bin Laden, nothing about Afghanistan or Iraq, only events as they unfold. This is a masterful and heartbreaking film, and it does honor to the memory of the victims.
Review http://www.rogerebert.com/reviews/caligula-1980 of Caligula (22 September 1980)
Reviews, Zero star reviews
Context: Caligula is sickening, utterly worthless, shameful trash. If it is not the worst film I have ever seen, that makes it all the more shameful: People with talent allowed themselves to participate in this travesty. Disgusted and unspeakably depressed, I walked out of the film after two hours of its 170-minute length. That was on Saturday night, as a line of hundreds of people stretched down Lincoln Ave., waiting to pay $7.50 apiece to become eyewitnesses to shame..."This movie," said the lady in front of me at the drinking fountain, "is the worst piece of shit I have ever seen."
Review of Magnolia in Chicago Sun-Times (7 January 2000) http://www.rogerebert.com/reviews/magnolia-2000
Reviews, Four star reviews
Context: Magnolia is operatic in its ambition, a great, joyous leap into melodrama and coincidence, with ragged emotions, crimes and punishments, deathbed scenes, romantic dreams, generational turmoil and celestial intervention, all scored to insistent music. It is not a timid film. … The movie is an interlocking series of episodes that take place during one day in Los Angeles, sometimes even at the same moment. Its characters are linked by blood, coincidence and by the way their lives seem parallel. Themes emerge: the deaths of fathers, the resentments of children, the failure of early promise, the way all plans and ambitions can be undermined by sudden and astonishing events. … All of these threads converge, in one way or another, upon an event there is no way for the audience to anticipate. This event is not "cheating," as some critics have argued, because the prologue fully prepares the way for it, as do some subtle references to Exodus. It works like the hand of God, reminding us of the absurdity of daring to plan. And yet plan we must, because we are human, and because sometimes our plans work out.
Magnolia is the kind of film I instinctively respond to. Leave logic at the door. Do not expect subdued taste and restraint, but instead a kind of operatic ecstasy. At three hours it is even operatic in length, as its themes unfold, its characters strive against the dying of the light, and the great wheel of chance rolls on toward them.
“Film theory has nothing to do with film.”
As quoted by David Weddle in " Lights, Camera, Action. Marxism, Semiotics, Narratology: Film School Isn't What It Used to Be, One Father Discovers http://articles.latimes.com/print/2003/jul/13/magazine/tm-filmschool28." Los Angeles Times (13 July 2003)
Context: Film theory has nothing to do with film. Students presumably hope to find out something about film, and all they will find out is an occult and arcane language designed only for the purpose of excluding those who have not mastered it and giving academic rewards to those who have. No one with any literacy, taste or intelligence would want to teach these courses, so the bona fide definition of people teaching them are people who are incapable of teaching anything else.
“I don't know when a film has connected more immediately with my own personal experience.”
Review of The Tree of Life (2 June 2011) http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20110602/REVIEWS/110609998
Reviews, Four star reviews
Context: Terrence Malick's The Tree of Life is a film of vast ambition and deep humility, attempting no less than to encompass all of existence and view it through the prism of a few infinitesimal lives. The only other film I've seen with this boldness of vision is Kubrick's 2001: A Space Odyssey, and it lacked Malick's fierce evocation of human feeling. … I don't know when a film has connected more immediately with my own personal experience. In uncanny ways, the central events of The Tree of Life reflect a time and place I lived in, and the boys in it are me. If I set out to make an autobiographical film, and if I had Malick's gift, it would look so much like this. … There is a father who maintains discipline and a mother who exudes forgiveness, and long summer days of play and idleness and urgent unsaid questions about the meaning of things. … The film's portrait of everyday life, inspired by Malick's memories of his hometown of Waco, Texas, is bounded by two immensities, one of space and time, and the other of spirituality. The Tree of Life has awe-inspiring visuals suggesting the birth and expansion of the universe, the appearance of life on a microscopic level and the evolution of species. This process leads to the present moment, and to all of us. We were created in the Big Bang and over untold millions of years, molecules formed themselves into, well, you and me.
And what comes after? In whispered words near the beginning, "nature" and "grace" are heard. … The film's coda provides a vision of an afterlife, a desolate landscape on which quiet people solemnly recognize and greet one another, and all is understood in the fullness of time.
“Old age isn't for sissies, and neither is this film.”
Review http://www.rogerebert.com/reviews/amour-2013 of Amour (9 January 2013)
Reviews, Four star reviews
Context: Old age isn't for sissies, and neither is this film. … This is now. We are filled with optimism and expectation. Why would we want to see such a film, however brilliantly it has been made? I think it's because a film like Amour has a lesson for us that only the cinema can teach: the cinema, with its heedless ability to leap across time and transcend lives and dramatize what it means to be a member of humankind's eternal audience.
Review http://www.rogerebert.com/reviews/red-1994 of Three Colors: Red (2 December 1994)
Reviews, Four star reviews
Context: We are connected with some people and never meet others, but it could easily have happened otherwise. Looking back over a lifetime, we describe what happened as if it had a plan. To fully understand how accidental and random life is — how vast the odds are against any single event taking place — would be humbling. … This is the kind of film that makes you feel intensely alive while you're watching it, and sends you out into the streets afterwards eager to talk deeply and urgently, to the person you are with. Whoever that happens to be.
Review of The Tree of Life (2 June 2011) http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20110602/REVIEWS/110609998
Reviews, Four star reviews
Context: Terrence Malick's The Tree of Life is a film of vast ambition and deep humility, attempting no less than to encompass all of existence and view it through the prism of a few infinitesimal lives. The only other film I've seen with this boldness of vision is Kubrick's 2001: A Space Odyssey, and it lacked Malick's fierce evocation of human feeling. … I don't know when a film has connected more immediately with my own personal experience. In uncanny ways, the central events of The Tree of Life reflect a time and place I lived in, and the boys in it are me. If I set out to make an autobiographical film, and if I had Malick's gift, it would look so much like this. … There is a father who maintains discipline and a mother who exudes forgiveness, and long summer days of play and idleness and urgent unsaid questions about the meaning of things. … The film's portrait of everyday life, inspired by Malick's memories of his hometown of Waco, Texas, is bounded by two immensities, one of space and time, and the other of spirituality. The Tree of Life has awe-inspiring visuals suggesting the birth and expansion of the universe, the appearance of life on a microscopic level and the evolution of species. This process leads to the present moment, and to all of us. We were created in the Big Bang and over untold millions of years, molecules formed themselves into, well, you and me.
And what comes after? In whispered words near the beginning, "nature" and "grace" are heard. … The film's coda provides a vision of an afterlife, a desolate landscape on which quiet people solemnly recognize and greet one another, and all is understood in the fullness of time.
Review http://www.rogerebert.com/reviews/downfall-2005 of Downfall (11 March 2005)
Reviews, Four star reviews
Context: Admiration I did not feel. Sympathy I felt in the sense that I would feel it for a rabid dog, while accepting that it must be destroyed. I do not feel the film provides "a sufficient response to what Hitler actually did," because I feel no film can, and no response would be sufficient. All we can learn from a film like this is that millions of people can be led, and millions more killed, by madness leashed to racism and the barbaric instincts of tribalism.
Review https://web.archive.org/web/20130707210114/http://www.rogerebert.com/reviews/united-93-2006 of United 93 (27 April 2006)
Reviews, Four star reviews
Context: It is not too soon for "United 93," because it is not a film that knows any time has passed since 9/11. The entire story, every detail, is told in the present tense. We know what they know when they know it, and nothing else. Nothing about Al Qaeda, nothing about Osama bin Laden, nothing about Afghanistan or Iraq, only events as they unfold. This is a masterful and heartbreaking film, and it does honor to the memory of the victims.
Review http://www.rogerebert.com/reviews/godzilla-1998 of Godzilla (26 May 1998)
Reviews, One-and-a-half star reviews
Review http://www.rogerebert.com/reviews/snake-eyes-1998 of Snake Eyes (7 August 1998)
Reviews, One-star reviews
Review http://www.rogerebert.com/reviews/compliance-2012 of Compliance (29 August 2012)
Reviews, Three star reviews