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No movie has ever been able to provide a catharsis for the Holocaust, and I suspect none will ever be able to provide one for 9/11. Such subjects overwhelm art.

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
Movie
Overwhelm
Art
Catharsis
Able
Holocaust
Ever
Suspect
Suspects
Provide
None
Subjects

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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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I was perfectly content before I was born, and I think of death as the same state.
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Life is made up of challenges that cannot be solved but only accepted.
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Well, you know what, I'm 60 years old, and I've been interested in politics since I was on my daddy's knee. During the 1948 election, we were praying for Truman. I know a lot about politics.
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In the best of all possible worlds, directors would obsess about the quality of their storytelling, and not the details of their technical methods.
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We are put on this planet only once, and to limit ourselves to the familiar is a crime against our minds.
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I've never found kicks to the groin particularly funny, although recent work in the genre of the buddy movie suggests audience research must prove me wrong.
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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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If you want to save yourself the ticket price, go into the kitchen, cue up a male choir singing the music of hell, and get a kid to start banging pots and pans together. Then close your eyes and use your imagination.
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It amazes me that filmmakers will still film, and audiences will still watch, relationships so bankrupt of human feeling that the characters could be reading dialogue written by a computer.
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Of all the arts, movies are the most powerful aid to empathy, and good ones make us into better people.
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If a movie is really working, you forget for two hours your Social Security number and where your car is parked. You are having a vicarious experience. You are identifying, in one way or another, with the people on the screen.
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Sometimes, it's all about the casting.
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Most people choose movies that provide exactly what they expect, and tell them things they already know. Others are more curious. We are put on this planet only once, and to limit ourselves to the familiar is a crime against our minds.
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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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Why is it that English, drama and music teachers are most often recalled as our mentors and inspirations? Maybe because artists are rarely members of the popular crowd.
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If a movie isn't a hit right out of the gate, they drop it. Which means that the whole mainstream Hollywood product has been skewed toward violence and vulgar teen comedy.
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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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They're not trying to prevent Hollywood from making movies. They're asking that the most powerful image-building machinery in the world stop grinding out killer dykes and twisted homo sex fiends as if sexual orientation had anything to do with criminal behavior.
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One of the weapons Marvel used in its climb to comic-book dominance was a willingness to invent new characters at a dizzying speed. There are so many Marvel universes, indeed, that some superheroes do not even exist in one another's worlds, preventing gridlock.
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