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.
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Review http://www.rogerebert.com/reviews/the-doom-generation-1995 of The Doom Generation (10 November 1995)
Reviews, Zero star reviews
Context: The movie opens as the drifter "inadvertently" (Araki's word, in the press kit) blows off the head of a Korean convenience store owner... It continues as the "enigmatic Xavier" (I am again quoting from the wonderfully revealing press kit) "has such rotten karma that every time they stop the car for fries and Diet Cokes, someone ends up dying in one gruesome way or another." Wait, there's more: "As the youthful band of outsiders continues their travels through the wasteland of America, Amy finds herself (having sex with) both Jordan and Xavier, forging a triangle of love, sex and desperation too pure for this world." Now let's deconstruct that. (1) The correct word is "its," not "their." (2) "Band of outsiders" is an insider reference to A Band Apart," the name of Quentin Tarantino's production company, which itself is a pun on the title of a film by Godard. (3) Is it remotely possible that America is a "wasteland" because Amy, Jordan and Xavier kill someone every time they stop for fries and a soda? That wouldn't have occurred to this movie. (4) The clause "someone ends up dying" is a passive way to avoid saying that the three characters kill them. This is precisely the same construction used by many serial killers and heads of state, who use language to separate themselves from the consequences of their actions.
“Of course the interview was never used.”
Review http://www.rogerebert.com/reviews/elephant-2003 of Elephant (7 November 2003)
Reviews, Four star reviews
Context: Let me tell you a story. The day after Columbine, I was interviewed for the Tom Brokaw news program. The reporter had been assigned a theory and was seeking sound bites to support it. "Wouldn't you say," she asked, "that killings like this are influenced by violent movies?" No, I said, I wouldn't say that. "But what about Basketball Diaries?" she asked. "Doesn't that have a scene of a boy walking into a school with a machine gun?" The obscure 1995 Leonardo Di Caprio movie did indeed have a brief fantasy scene of that nature, I said, but the movie failed at the box office (it grossed only $2.5 million), and it's unlikely the Columbine killers saw it. The reporter looked disappointed, so I offered her my theory. "Events like this," I said, "if they are influenced by anything, are influenced by news programs like your own. When an unbalanced kid walks into a school and starts shooting, it becomes a major media event. Cable news drops ordinary programming and goes around the clock with it. The story is assigned a logo and a theme song; these two kids were packaged as the Trench Coat Mafia. The message is clear to other disturbed kids around the country: If I shoot up my school, I can be famous. The TV will talk about nothing else but me. Experts will try to figure out what I was thinking. The kids and teachers at school will see they shouldn't have messed with me. I'll go out in a blaze of glory."
In short, I said, events like Columbine are influenced far less by violent movies than by CNN, the NBC Nightly News and all the other news media, who glorify the killers in the guise of "explaining" them. I commended the policy at the Sun-Times, where our editor said the paper would no longer feature school killings on Page 1. The reporter thanked me and turned off the camera. Of course the interview was never used. They found plenty of talking heads to condemn violent movies, and everybody was happy.
“As an act of filmmaking, it draws us in and doesn't let go.”
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.
“Minority Report reminds us why we go to the movies in the first place.”
Review http://www.rogerebert.com/reviews/minority-report-2002 of Minority Report (21 June 2002)
Reviews, Four star reviews
Context: American movies are in the midst of a transition period. Some directors place their trust in technology. Spielberg, who is a master of technology, trusts only story and character, and then uses everything else as a workman uses his tools. He makes Minority Report with the new technology; other directors seem to be trying to make their movies from it. This film is such a virtuoso high-wire act, daring so much, achieving it with such grace and skill. Minority Report reminds us why we go to the movies in the first place.
Review http://www.rogerebert.com/reviews/pleasantville-1998 of Pleasantville (1 October 1998)
Reviews, Four star reviews
Context: In the twilight of the 20th century, here is a comedy to reassure us that there is hope — that the world we see around us represents progress, not decay. Pleasantville, which is one of the year's best and most original films, sneaks up on us. It begins by kidding those old black-and-white sitcoms like "Father Knows Best," it continues by pretending to be a sitcom itself, and it ends as a social commentary of surprising power.
…
The film observes that sometimes pleasant people are pleasant simply because they have never, ever been challenged. That it's scary and dangerous to learn new ways. The movie is like the defeat of the body snatchers: The people in color are like former pod people now freed to move on into the future. We observe that nothing creates fascists like the threat of freedom.
Pleasantville is the kind of parable that encourages us to re-evaluate the good old days and take a fresh look at the new world we so easily dismiss as decadent. Yes, we have more problems. But also more solutions, more opportunities and more freedom. I grew up in the '50s. It was a lot more like the world of Pleasantville than you might imagine. Yes, my house had a picket fence, and dinner was always on the table at a quarter to six, but things were wrong that I didn't even know the words for.
“This process leads to the present moment, and to all of us.”
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.
The Great Movies II (2005), p. 94
Context: It's said that Chaplin wanted you to like him, but Keaton didn't care. I think he cared, but was too proud to ask. His films avoid the pathos and sentiment of the Chaplin pictures, and usually feature a jaunty young man who sees an objective and goes for it in the face of the most daunting obstacles. Buster survives tornados, waterfalls, avalanches of boulders, and falls from great heights, and never pauses to take a bow: He has his eye on his goal. And his movies, seen as a group, are like a sustained act of optimism in the face of adversity; surprising, how without asking, he earns our admiration and tenderness.
Because he was funny, because he wore a porkpie had, Keaton's physical skills are often undervalued … no silent star did more dangerous stunts than Buster Keaton. Instead of using doubles, he himself doubled for his actors, doing their stunts as well as his own.
"Critical Eye" column, Yahoo! Internet Life (September 1998), p. 66
Review http://www.rogerebert.com/reviews/transformers-revenge-of-the-fallen-2009 of Transformers: Revenge of the Fallen (23 June 2009)
Reviews, One-star reviews
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Reviews, One-star reviews
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Reviews, Three star reviews
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Reviews, One-and-a-half star reviews
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Reviews, Two star reviews
Review http://www.rogerebert.com/reviews/the-devils of The Devils (1 January 1971)
Reviews, Zero star reviews
Review http://www.rogerebert.com/reviews/boat-trip-2003 of Boat Trip (21 March 2003)
Reviews, Half-star reviews
Review http://www.rogerebert.com/reviews/o-brother-where-art-thou-2000 of O Brother, Where Art Thou? (29 December 2000)
Reviews, Two-and-a-half star reviews
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