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It's not often a thriller keeps me wound up as well as 'Headhunters' did. I knew I was being manipulated and didn't care. It was a pleasure to see how well it was being done.

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
Well
Wounds
Done
Keeps
Knew
Pleasure
Often
Thriller
Didn
Manipulated
Care
Thrillers
Wells
Wound

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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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Socrates told us, the unexamined life is not worth living. I think he's calling for curiosity, more than knowledge. In every human society at all times and at all levels, the curious are at the leading edge.
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Clouds do not really look like camels or sailing ships or castles in the sky. They are simply a natural process at work. So too, perhaps, are our lives.
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Here's a notion: Peace in the Middle East would come about more easily if the region were governed by women.
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Marlon Brando is the most influential movie actor of the century.
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Wes Anderson's mind must be an exciting place for a story idea to be born. It immediately becomes more than a series of events and is transformed into a world with its own rules, in which everything is driven by emotions and desires as convincing as they are magical.
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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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The time in between my clapping is ma. If you just have non-stop action with no breathing space at all, it's just busyness, But if you take a moment, then the tension building in the film can grow into a wider dimension. If you just have constant tension at 80 degrees all the time you just get numb.
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We live in a box of space and time. Movies are windows in its walls. They allow us to enter other minds, not simply in the sense of identifying with the characters, although that is an important part of it, but by seeing the world as another person sees it.
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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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From a dramatic viewpoint, there are few professions that grant their members entry into other lives, high among them cops, doctors, clergymen, journalists and prostitutes. Perhaps that explains why they figure in so much television and cinema. Their lives are lived in the midst of human drama.
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There are two things you can't argue in film: comedy and eroticism. If something doesn't make you laugh, no one can tell you why it's funny, and it's difficult to reason someone out of an erection.
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The Lucky One is at its heart a romance novel, elevated however by Nicholas Sparks' persuasive storytelling. Readers don't read his books because they're true, but because they ought to be true.
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Movies are not about moving, but about whether to move.
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Sometimes you only need to have a few words with a person to know you would like to have many more.
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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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We think of first love as sweet and valuable, a blessed if hazardous condition.
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The buried code of many American films has become: If I kill you, I have won and you have lost. The instinctive ethical code of traditional Hollywood, the code by which characters like James Stewart, John Wayne and Henry Fonda lived, has been lost.
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I was perfectly content before I was born, and I think of death as the same state.
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Because I don't give the studios advanced quotes or an advanced look at my reviews. I think the readers deserve to read my reviews before the studios do.
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