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Blockbusters run the mainstream industry. We may never again have a decade like the 1970s, when directors were able to find such freedom.

Roger Ebert

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Roger Ebert
Age: 70 †
Born: 1942
Born: June 18
Died: 2013
Died: April 4
Film Critic
Journalist
Presenter
Reporter
Screenwriter
Writer
Urbana
Illinois
Roger Joseph Ebert
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Never
Decades
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Directors
Industry
Freedom
Running
Blockbusters
May
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I am utterly bored by celebrity interviews. Most celebrities are devoid of interest.
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Because we are human, because we are bound by gravity and the limitations of our bodies, because we live in a world where the news is often bad and the prospects disturbing, there is a need for another world somewhere, a world where Fred Astaire and Ginger Rogers live.
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If you plan to miss this movie, better miss it quickly I doubt if it'll be around to miss for long.
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On this ancient and miraculous world, where such beautiful natural and living things have evolved, something has gone wrong when life itself is used as a manufacturing process.
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It's strange: We leave the movie having enjoyed its conclusion so much that we almost forgot our earlier reservations. But they were there, and they were real.
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Nothing ever seems straightforward in Venice, least of all its romances.
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What happens in a fantasy can be more involving than what happens in life, and thank goodness for that.
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We are the playthings of the gods.
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It's a good question, because a movie isn't good or bad based on its politics. It's usually good or bad for other reasons, though you might agree or disagree with its politics.
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It is quite possible for the vulgar to be funny, but to succeed, it must rise to a certain genius.
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Going to a movie so you won't be offended is like eating potato chips made with Olestra you avoid the dangers of the real thing, but your insides fill up with synthetic runny stuff.
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I have no fear of death. We all die. I consider my remaining days to be like money in the bank. When it is all gone, I will be repossessed.
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We can't help identifying with the protagonist. It's coded in our movie-going DNA.
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Some movies run off the rails. This one is like the train crash in The Fugitive. I watched it in mounting gloom, realizing I was witnessing something historic, a film that for decades to come will be the punch line of jokes about bad movies.
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Crowds can be frightening. They have a way of impressing the low, base taste upon their members. Watching the way thousands of people in his audience could not think for themselves, could not find the courage to allow their ordinary feelings of decency and taste to prevail, I understood better how demagogues are possible.
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We laugh, that we may not cry.
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Rollerball is an incoherent mess, a jumble of footage in search of plot, meaning, rhythm and sense. There are bright colors and quick movement on the screen, which we can watch as a visual pattern that, in entertainment value, falls somewhere between a kaleidoscope and a lava lamp.
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But considering that I walked in expecting no complexity at all, let alone the visual wonderments, Snow White and the Huntsman is a considerable experience.
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Film has become a marketed commodity, and the opportunities and audiences for art cinema have grown smaller. There is a general downturn in cultural literacy, perhaps because of television.
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