The Great Movies III

The Great Movies III

Roger Ebert

Language: English

Pages: 440

ISBN: 0226182096

Format: PDF / Kindle (mobi) / ePub


Roger Ebert has been writing film reviews for the Chicago Sun-Times for over four decades now and his biweekly essays on great movies have been appearing there since 1996. As Ebert noted in the introduction to the first collection of those pieces, “They are not the greatest films of all time, because all lists of great movies are a foolish attempt to codify works which must stand alone. But it’s fair to say: If you want to take a tour of the landmarks of the first century of cinema, start here.

Enter The Great Movies III, Ebert’s third collection of essays on the crème de la crème of the silver screen, each one a model of critical appreciation and a blend of love and analysis that will send readers back to the films with a fresh set of eyes and renewed enthusiasm—or maybe even lead to a first-time viewing. From The Godfather: Part II to Groundhog Day, from The Last Picture Show to Last Tango in Paris, the hundred pieces gathered here display a welcome balance between the familiar and the esoteric, spanning Hollywood blockbusters and hidden gems, independent works and foreign language films alike. Each essay draws on Ebert’s vast knowledge of the cinema, its fascinating history, and its breadth of techniques, introducing newcomers to some of the most exceptional movies ever made, while revealing new insights to connoisseurs as well.

Named the most powerful pundit in America by Forbes magazine, and a winner of the Pulitzer Prize, Roger Ebert is inarguably the most prominent and influential authority on the cinema today. The Great Movies III is sure to please his many fans and further enhance his reputation as America’s most respected—and trusted—film critic.

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one glimpse of a telegram that the character's name is Marwood; it never appears in the dialogue. Marwood has within himself the seeds of sanity and prudence. He drinks heavily, but Withnail is consumed by an unslakable thirst. Withnail is also possessed by fury. He is angry at everyone and everything almost all the time, except when a brief window sometimes opens between his last hangover and his next binge. He drops the f-bomb as punctuation, and his face reveals bitter resentment. What does he

writings on Kurosawa are invaluable, notes that Kurosawa's shots are always at right angles to what they show; they either look straight up and down the street, or straight into or out of the buildings, and "there are very few diagonal shots."The purpose may be to emphasize the simplicity of the local situation: two armies face each other, the locals observe the main street as if it's a stage, and the samurai himself embodies the diagonal-the visitor who stands at an angle to everyone and upsets

Bay). Malle did not follow his New Wave origins into ideological extremities, like Godard, but like his German contemporary Fassbinder frankly desired large audiences. What's interesting, even with a seemingly commercial project like Atlantic City, is how resolutely he stayed with the human dimension of his story and let the drug plot supply an almost casual background. Here is a movie where reincarnation is treated at least as seriously as cocaine, and the white suit even more so. here is

as "impartial," alternating between the stories of the Algerian National Liberation Front (FLN) and the French police and paratroopers assigned to destroy it. "Pontecorvo has taken his stance," I wrote in my 1968 review, "somewhere between the FLN and the French, although his sympathies are on the side of the Nationalists. He is aware that innocent civilians die and are tortured on both sides, that bombs cannot choose their victims, that both armies have heroes, and that everyone fighting a war

commits murder to cover up an affair, but Match Point is more firmly a film noir, and Crimes is frankly a complaint against God for turning a blind eye on evil. Judah, played by Martin Landau as a man of probity and vast selfimportance, is, or thinks he is, a moral man. That has not prevented him from having an affair for two years with Dolores (Anjelica Huston), a flight attendant with whom he has walked on the beach and discussed marriage. But Judah will never divorce his wife, Miriam (Claire

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