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Suicides always choose the ledge with the pigeon. MATTHEW COPE, Westmont, Quebec.
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Click to buy Roger Ebert's Great Movies iPhone App Roger Ebert Presents At the Movies The Ebert Club

Battleship (PG-13)
"This could be like Columbus and the Indians," a nerdy radio astronomer worries. "Except we're the Indians." From a powerful transmission facility in Hawaii, he's supervised the transmission of a signal to the Earth-like Planet G in another galaxy, and in no time at all, aliens come calling. Considering that they arrive in weeks, they must have discovered faster-than-light speeds, so it's a little strange that when they arrive they're strictly analog. Their vast warships splash down in the Pacific (except for fragments that devastate Hong Kong in one of those toppling skyscraper scenes so beloved in disaster movies). But these alien craft are only armed at a level that makes their battle with U.S. warships more or less a standoff.

Bernie (R)
I would buy a used coffin from this man. In Richard Linklater's droll comedy "Bernie," Jack Black plays an east Texas funeral director named Bernie Tiede, and it is surely one of the performances of the year. I had to forget what I knew about Black. He creates this character out of thin air, it's like nothing he's done before, and it proves that an actor can be a miraculous thing in the right role.

What to Expect When You're Expecting (PG-13)
Just what we needed. First "Friends With Kids" two months ago, about three couples who confront pregnancy, and now "What to Expect When You're Expecting," about five couples so much in synch that deliveries and an adoption occur on the same day. I'd rather see a movie about one couple, treated in some depth, than these round-robins with the editor working up a sweat to keep all the stories in the air.

The Samaritan (Unrated)
One difference between film noir and more straightforward crime pictures is that noir is more open to human flaws and likes to embed them in twisty plot lines. "The Samaritan" isn't a great noir, but it's true to the tradition and gives Samuel L. Jackson one of his best recent roles.

Quill: The Life of a Guide Dog (Unrated)
What sets this film above so many movies about animals is that it's about a dog who is realistic in every aspect. "Quill: Life of a Guide Dog" doesn't use fake closeups to show the dog being cute or funny. It doesn't dub Quill's "dialogue" or even worse, use CGI to move his jaw and show him "speaking." Quill is a dog, and that is quite enough.

Where Do We Go Now? (PG-13)
Here's a notion: Peace in the Middle East would come about more easily if the region were governed by women. After relegating women to inferior or invisible roles in society, many of the region's nations are governed by men who want to prove how macho they are. Even religious strife is largely fueled by testosterone, not theology. Although women are also flawed, by their natures they lean toward compromise and accommodation. They don't see everything as a test.

The Dictator (R)
"The Dictator" is funny, in addition to being obscene, disgusting, scatological, vulgar, crude and so on. Having seen Sacha Baron Cohen promoting it on countless talk shows, I feared the movie would feel like deja vu. But no. He establishes a claim to be the best comic filmmaker now working. And in a speech about dictatorships, he practices merciless political satire.

Dark Shadows (PG-13)
Tim Burton's "Dark Shadows" is all dressed up with nowhere to go, an elegant production without a central drive. It offers wonderful things, but they aren't what's important. It's as if Burton directed at arm's length, unwilling to find juice in the story. Yes, the original TV soap opera is a cult classic, but he approaches his "Dark Shadows" as an amusing trifle, and for a feature-length film, we need more than attitude to sink our teeth in.

Headhunters (R)
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. Unlike too many thrillers that depend on stunts, special effects and the Queasy-Cam, this one devises a plot where it matters what happens. It's not all kinetic energy.

The Sound of My Voice (R)
"The Sound of My Voice" is a sci-fi thriller made with smoke and mirrors. No special effects, no other worlds, only the possibility of time travel, which you can't show but can only talk about. In fact, it's probably not science fiction at all, but belongs in some related category, like a story from the old Weird Tales magazine.

God Bless America (R)
The first half hour or so of Bobcat Goldthwait's "God Bless America" promises so much more than the film is finally able to deliver. Here is a film that begins with merciless comic savagery and descends into merely merciless savagery. But wow, what an opening.

Girl in Progress (PG-13)
A high school lesson plan calls for a study of coming of age. The teacher approaches this topic as if it's uncharted territory for her teenage students. Maybe she's right. A student named Ansiedad (Cierra Ramirez) does some extra study outside class and begins a project to deliberately and consciously come of age.

The Avengers (PG-13) (5/2) »

The Best Exotic Marigold Hotel (PG-13) (5/2) »

Surviving Progress (Unrated) (5/2) »

Keyhole (R) (5/2) »

La Collectionneuse (Unrated) (1967)
During lazy summer days and nights, the subjects of "La Collectionneuse" practice idleness and slow-motion mind games in a villa in the hills above St. Tropez on the French Riviera. Sensuality is always in the air, where it drifts aimlessly. This is the third of Eric Rohmer's Moral Tales, the first at feature length, the first filmed in color. It functions as a jumping-off point for the rest of his long career.

We all live in our own little subcultures. In mine -- loosely categorized as international film-festival cinephiliacs -- big-name contemporary filmmakers such as Apichatpong Weerasethakul, Abbas Kiarostami, Michael Haneke and the Dardennes brothers (yes, they've all won the Palme d'Or at Cannes) are huge, huge stars. In fact, some of us, whether we like them or not, feel they are overexposed, on the verge of becoming more than famous: ubiquitous. Like Kardashians or something. (I'll be honest: I don't know what a Kardashian is, but I keep hearing the term.) I mean, good god, the Dardennes have been all in your face throughout the 21st century, making movie after movie and picking up awards everywhere you look. And don't even get me started on Kiarostami. That guy became the international flavor-of-the-film-fest-cicruit in the 1980s, achieved his biggest commercial success in 2010, and has a new film in competition at Cannes right now.

These guys make Guy Ritchie's career all the more insignificant

The heroes we deserve

Continuing to argue for the irrelevance of my own opinions

The Avengers & the Amazing "Critic-Proof" Movie

Are these America's most prominent filmmakers?

Random thoughts while attending Ebertfest 2012

"Avenge me! AVENGE ME!"

Wesley Morris's Pulitzer Prize-winning hits

Tree of Life: The missing link discovered!

David Simon: Damn right Omar is cool. Get over it.

Bette Davis at 104: Still smokin'

People who live in Glass houses...



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The Opening Shots Project Index


The video on this page was an undercover project, I learn, at Ebertfest 2012. Most of my Far-Flung Correspondents and Demanders were there in person, and those who couldn't be contributed their voices via audio files. The idea originated with Kevin B. Lee, who did the audiotaping and editing. It was the inspiration of Michael Mirasol to use the foreign languages of those who spoke one.
Women are nicer than men. There are exceptions. Most people of both sexes are probably fairly nice, given the nature of their upbringing and opportunities. But in terms of their lifelong natures, women are kinder, more empathetic, more generous. And the sooner more of them take positions of power, the better our chances as a species.
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by Barbara Scharres

It's another day for umbrellas and rain slickers, not to mention sweaters. The Riviera is just not delivering the usual idyllic sunshine and warm Mediterranean breezes this year. The film market stands that border the beach in little cabanas have their doors closed for protection from the wet, and their inviting tables and deck chairs on the sand are vacant and dripping.
by Barbara Scharres

Sunday dawned with a dark and threatening sky and a chill in the air, continuing the dreary weather trend of the past two days. It's a day of heavy-hitters here at Cannes, with two greatly anticipated films by major directors premiering in competition: "Amour" ("Love") by Austrian Michael Haneke in the morning; and "Like Someone in Love" by Iranian Abbas Kiarostami in the evening. Is the weather an omen or just weather? We'll see.
Dear Roger: "We were once indivisible from every atom in the cosmos," and that is how I feel when I am sitting in the Palais watching movies at Cannes with a screen spread out as wide as the galaxy, the audience circling around like protons and neutrons breathing as one in empathy.
by Donald Liebenson

Watching "Norman Mailer: The American," I was struck by the similarities between Mailer and Charles Foster Kane. And it's not just that director Joseph Mantegna (not the actor) at one point employs the title card for "Citizen Kane's" faux newsreel "News on the March" to setup some archival footage. Or the fact that "American" was originally the proposed title for Orson Welles' masterpiece.
by Jeff Shannon

As I reflect on my life, I grow increasingly grateful for having witnessed the greatest half-century in the history of the United States. Consider just a few of the crucial events that have shaped us during the past 50 years: The civil rights movements for African-Americans, women and the disabled; the war in Vietnam and its domestic fallout; landing on the moon and exploring the outer reaches of the universe; the global trauma of AIDS and seemingly perpetual threats of war and terrorism; and, perhaps most important, the emergence and meteoric rise of the digital age, exemplified by the Internet and social media with the power to literally change history through an exponential expansion of human connectedness.
by Donald Liebenson

"Inmates with guns, that's kinda new," Mel Gibson's Yanqui with No Name (or fingerprints) growls in "Get the Gringo." "I've got a lot to learn about this place." And there is a lot to learn about El Pueblito, a Mexican prison that makes Shawshank look like Otis Campbell's quaint little cell on "The Andy Griffith Show."
• Seongyong Cho in South Korea

When David Fincher's "Zodiac" (2007) was released in South Korean theaters, it was immediately compared to a famous South Korean film. That movie was also based on the infamous serial killing case still remaining unsolved to this day, and it is also about the desperation, frustration, and obsession of the people who wanted to find the man behind the horrific killings.
• Omer M. Mozaffar in Chicago

Do we teach our young people to dream in the way we used to dream? I feel a sadness as I look at the long faces of so many undergrads. In their expressions, there is a resignation towards, rather, a skepticism of, rather, a fear of the murky future. Have we lost the motivation, passion and, yes, romance of our counterparts from the 1960s, believing that with enough determination we could change the world into a better place?
• Scott Jordan Harris in the UK

The saying in boxing is that "styles make fights". It means that two elegant matadors like Muhammad Ali, or two rampaging bulls like Joe Frazier, wouldn't have contested the classics fought by one Muhammad Ali and one Joe Frazier. The saying is true, and its truth extends beyond boxing to all sporting rivalries.
thumbs
Linked here are reviews in recent months for which I wrote either 4 star or 3.5 star reviews. What does Two Thumbs Up mean in this context? It signifies that I believe these films are worth going out of your way to see, or that you might rent them, add them to your Netflix, Blockbuster or TiVo queues, or if they are telecast record them.
Gathered here in one convenient place are my recent reviews that awarded films Zero Stars, One-half Star, One Star, and One-and-a-half Stars. These are, generally speaking to be avoided. Sometimes I hear from readers who confess they are in the mood to watch a really bad movie on some form of video. If you are sincere, be sure to know what you're getting: A really bad movie.
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