Roger Ebert
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Re: Roger Ebert
Ticius escreveu:Fifeco II
not quite, há opiniões e opiniões, cada um tem o seu argumento. Mas não vejo grandes escândalos no Ebert. Desde que tenha dado nota baixa ao Star Trek é razoável.
Re: Roger Ebert
Lex escreveu:Mil escreveu:Roger Ebert escreveu:"Knowing" is among the best science-fiction films I've seen -- frightening, suspenseful, intelligent and, when it needs to be, rather awesome."
Deu 4 estrelas (em 4 possíveis)!
continuo a dizer que não é mau filme. O facto de dar pontuação máxima ele já explicou que se atribuiu a integrar o filme no género. Se é bem sucedido naquilo a que se propõe ele dá o que acha justo, mas disse tb que apesar de filmes como este ou Doidos por Mary terem 4 estrelas o mesmo que deu ao Citizen Kane não quer dizer que são igualmente bons.
Não concordo nada com isso.. mas ok, cada uma com a sua..
Se alguém se propuser a fazer um filme mediocre.. e o resultado for um filme mediocre, então teria pontuação máxima por ter atingido o que se propôs.
Na minha opinião, é um filme mediano, mesmo dentro do seu estilo.
Nunca merecedor de nota máxima, seja numa visão global ou numa visão compartimentada por género!
No aspecto das notas acho o Ebert semelhante ao Fifeco..
Mil- Mensagens : 18710
Data de inscrição : 30/09/2008
Idade : 41
Re: Roger Ebert
não concordo, mas experimenta ler a critica dele ao filme. Opiniões são opiniões, desde que se fundamente... agora isso de alguém se propor a fazer um filme medíocre, não tem a ver com nada.
Eu tb não daria essa pontuação, mas dentro do critério dele não me escandaliza. Apenas discordo.
Eu tb não daria essa pontuação, mas dentro do critério dele não me escandaliza. Apenas discordo.
Re: Roger Ebert
Lex escreveu:não concordo, mas experimenta ler a critica dele ao filme. Opiniões são opiniões, desde que se fundamente... agora isso de alguém se propor a fazer um filme medíocre, não tem a ver com nada.
Eu tb não daria essa pontuação, mas dentro do critério dele não me escandaliza. Apenas discordo.
eu li a critica dele.. e até comecei por citar o que li..
aliás, até podia ter citado a "maravilha" que foi a performance do Nick Cage, mas achei que já era o suficiente..
Ele achou o filme merecedor da nota máxima "dentro do género".. e isso é motivo de discordância e espanto!
Mas mantenho.. cada um com a sua..
E cada vez menos considero as opiniões do Roger Ebert relevantes.
Mil- Mensagens : 18710
Data de inscrição : 30/09/2008
Idade : 41
Re: Roger Ebert
não vejo isso como uma questão de relevância na opinião. Gosto de saber o que ele acha, porque já vou conhecendo as suas opiniões, mas devo discordar para ai uns 50% agora nunca houve um caso onde pensei "como é possível". Ou seja a sua opinião tem sempre alguma razão de ser, mesmo que discorde, como é o caso do Knowing. Se ele tivesse tido o mesmo do Star Trek então já seria uma situação "como é possível". Já li bastantes outras criticas de outros gajos e mtos ocorreu isso e então deixei de os ler. Mas no caso deste gajo tenho sempre curiosidade. Ele ainda não fez a critica do Basterds pq ainda não saiu nos USA, mas já o viu e escreveu um pouco e fiquei com a ideia de que ele não gostou, mas isso não me fez querer ver o filme menos.
Re: Roger Ebert
Entrevista de 1.30h
Parte 1 - https://www.youtube.com/watch?v=kTYVnuKnJNo
Parte 2 - https://www.youtube.com/watch?v=KGvORJUvW60
Parte 3 - https://www.youtube.com/watch?v=oyWLH02HpI4
Parte 1 - https://www.youtube.com/watch?v=kTYVnuKnJNo
Parte 2 - https://www.youtube.com/watch?v=KGvORJUvW60
Parte 3 - https://www.youtube.com/watch?v=oyWLH02HpI4
Re: Roger Ebert
http://www.imdb.com/title/tt0042593/
- Ebert adicionou A Lonely Place (1950) à sua Great Movies List
vi isso num forum e a resposta a seguir foi:
curti bue
- Ebert adicionou A Lonely Place (1950) à sua Great Movies List
vi isso num forum e a resposta a seguir foi:
Zoolander gets passed over again.
curti bue
Re: Roger Ebert
Ebert escreve sobre a sua vida de alcoólico
http://blogs.suntimes.com/ebert/2009/08/my_name_is_roger_and_im_an_alc.html
http://blogs.suntimes.com/ebert/2009/08/my_name_is_roger_and_im_an_alc.html
Re: Roger Ebert
bem me parecia que faltava ali alguma coisa..
Mil- Mensagens : 18710
Data de inscrição : 30/09/2008
Idade : 41
Re: Roger Ebert
Ebert adicionou Barry Lyndon à sua Great Movies List
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20090909/REVIEWS08/909099993/1004
outras criticas:
http://cinepad.com/reviews/blyndon.htm
http://www.visual-memory.co.uk/amk/doc/interview.bl.html
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20090909/REVIEWS08/909099993/1004
outras criticas:
http://cinepad.com/reviews/blyndon.htm
http://www.visual-memory.co.uk/amk/doc/interview.bl.html
Re: Roger Ebert
http://blogs.suntimes.com/ebert/2009/07/the_greatest_movies_ever_made.html
comentário de Ebert à lista da Sight & Sound
1. The Night of the Hunter, Laughton
2. Apocalypse Now, Coppola
3. Sunrise, Murnau
4. Black Narcissus, Powell & Pressburger
5. L'avventura, Antonioni
6. The Searchers, Ford
7. The Magnificent Ambersons, Welles
8. The Seventh Seal , Bergman
9. L'atalante, Vigo
10. Rio Bravo, Hawks
11. The Godfather: Part I and Part II, Coppola
12. The Passion of Joan of Arc, Dreyer
13. La Grande Illusion, Renoir
14. Citizen Kane, Welles
15. The Scarlett Empress, von Sternberg
16. Tokyo Story, Ozu
17. Blade Runner, Ridley Scott
18. Rear Window, Hitchcock
19. Point Blank, Boorman
20. The Red Shoes, Powell & Pressburger
21. The Earrings of Madame de..., Ophuls
22. Shadows, Cassavetes
23. Pickpocket, Bresson
24. Viridiana, Bunuel
25. Barry Lyndon, Kubrick
26. City Lights, Chaplin
27. Pierrot le Fou, Godard
28. Sunset Boulevard, Wilder
29. Notorious, Hitchcock
30. M, Lang
31. The Roaring Twenties, Walsh
32. Singin' in the Rain, Donen and Kelly
33. The Long Day Closes, Davies
34. Killer of Sheep, Burnett
35. Gun Crazy, Lewis
36. Andrei Rublev, Tarkovsky
37. Taxi Driver, Scorsese
38. The 400 Blows, Truffaut
39. Pulp Fiction, Tarantino
40. Kind Hearts and Coronets, Hamer
41. In the Mood for Love, Wong Kar-Wai
42. Sullivan's Travels, Sturges
43. 8 1/2, Fellini
44. Pinocchio, Disney
45. Great Expectations, Lean
46. Rome, Open City, Rossellini
47. Duck Soup, McCarey
48. Jaws, Spielberg
49. Manhattan, Allen
50. Out of the Past, Tourneur
comentário de Ebert à lista da Sight & Sound
1. The Night of the Hunter, Laughton
2. Apocalypse Now, Coppola
3. Sunrise, Murnau
4. Black Narcissus, Powell & Pressburger
5. L'avventura, Antonioni
6. The Searchers, Ford
7. The Magnificent Ambersons, Welles
8. The Seventh Seal , Bergman
9. L'atalante, Vigo
10. Rio Bravo, Hawks
11. The Godfather: Part I and Part II, Coppola
12. The Passion of Joan of Arc, Dreyer
13. La Grande Illusion, Renoir
14. Citizen Kane, Welles
15. The Scarlett Empress, von Sternberg
16. Tokyo Story, Ozu
17. Blade Runner, Ridley Scott
18. Rear Window, Hitchcock
19. Point Blank, Boorman
20. The Red Shoes, Powell & Pressburger
21. The Earrings of Madame de..., Ophuls
22. Shadows, Cassavetes
23. Pickpocket, Bresson
24. Viridiana, Bunuel
25. Barry Lyndon, Kubrick
26. City Lights, Chaplin
27. Pierrot le Fou, Godard
28. Sunset Boulevard, Wilder
29. Notorious, Hitchcock
30. M, Lang
31. The Roaring Twenties, Walsh
32. Singin' in the Rain, Donen and Kelly
33. The Long Day Closes, Davies
34. Killer of Sheep, Burnett
35. Gun Crazy, Lewis
36. Andrei Rublev, Tarkovsky
37. Taxi Driver, Scorsese
38. The 400 Blows, Truffaut
39. Pulp Fiction, Tarantino
40. Kind Hearts and Coronets, Hamer
41. In the Mood for Love, Wong Kar-Wai
42. Sullivan's Travels, Sturges
43. 8 1/2, Fellini
44. Pinocchio, Disney
45. Great Expectations, Lean
46. Rome, Open City, Rossellini
47. Duck Soup, McCarey
48. Jaws, Spielberg
49. Manhattan, Allen
50. Out of the Past, Tourneur
Re: Roger Ebert
Ebert's Two Lists of the Best Films of 2009
The Top 10 Mainstream Films:
» Bad Lieutenant
» Crazy Heart
» An Education
» The Hurt Locker
» Inglourious Basterds
» Knowing
» Precious
» A Serious Man
» Up in the Air
» The White Ribbon
"Now you are thinking, hey, what about Avatar? Faithful readers know of my annual Special Jury Prize. This year it goes to James Cameron's ground-breaking epic. No, that doesn't mean it's the best film of the year. It means it won the Special Jury Prize."
The Top 10 Independent Films:
» Departures
» Disgrace
» Everlasting Moments
» Goodbye Solo
» Julia
» Silent Light
» Sin Nombre
» Skin
» Trucker
» You, the Living
Re: Roger Ebert
tb só dei 7 ao Avatar... mas o bad Lieutenant não é com o Nicolas Cage?
Ticius- Mensagens : 10330
Data de inscrição : 23/09/2008
Re: Roger Ebert
Lex escreveu:é, pq?
o cage tem feito filmes mto maus....
Ticius- Mensagens : 10330
Data de inscrição : 23/09/2008
Re: Roger Ebert
Lex escreveu:e?
e que j´+a tinha ouvido falar desse filme e pensei q fosse mais do mesmo...
Ticius- Mensagens : 10330
Data de inscrição : 23/09/2008
Re: Roger Ebert
Ebert's Oscar predictions
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20100129/OSCARS/100129974
Re: Roger Ebert
Roger Ebert picks
http://www.sfgate.com/cgi-bin/blogs/abraham/detail??blogid=95&entry_id=58304
Best Picture: The Hurt Locker
Best Director: Kathryn Bigelow
Best Actor: Jeff Bridges
Best Actress: Sandra Bullock
Supporting Actor: Christoph Waltz
Supporting Actress: Mo’Nique
Original Screenplay: Still a toss-up between The Hurt Locker and Basterds. Star screenwriter, popular movie, likable guy vs. the WGA and the BAFTA wins, no matter that QT was eligible for a WGA (you have to wonder why he isn’t a member of the WGA in the first place after all of these years. Mark Boal is a member and Quentin Tarantino is not? Whaddup with that?)
Adapted Screenplay: Up in the Air
Art Direction: Avatar
Cinematography: Avatar OR The Hurt Locker
Editing: The Hurt Locker
Sound: The Hurt Locker
Sound Editing: Avatar
Costumes: The Young Victoria
Makeup: Star Trek
Documentary: The Cove
Foreign Language: El Secreto (Argentina)
Score: Up
Animated Feature: Up
Visual Effects: Avatar
Song: The Weary Kind
Live Action Short: The Door
Animated Short: Loaf and Death
Doc Short: The Last Truck
Re: Roger Ebert
Lex escreveu:Roger Ebert picks
Original Screenplay: Still a toss-up between The Hurt Locker and Basterds. Star screenwriter, popular movie, likable guy vs. the WGA and the BAFTA wins, no matter that QT was eligible for a WGA (you have to wonder why he isn’t a member of the WGA in the first place after all of these years. Mark Boal is a member and Quentin Tarantino is not? Whaddup with that?)
Bullshit!!!
"Original screenplay
Quentin Tarantino for “Inglourious Basterds.” Who else would have the audacity to rewrite World War II? Tarantino remains a uniquely individual filmmaker, admired as a craftsman and visionary. There's a possibility of an upset in this category if Mark Boal benefits from an Oscar sweep for “The Hurt Locker,” but my money is on QT." - by EBERT
Ticius- Mensagens : 10330
Data de inscrição : 23/09/2008
The true Ebert
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20100219/OSCARS/100219964
Picture
“Up in the Air” was the front-runner much of the autumn. It's a movie from and of these times, about unemployment. George Clooney stars as a man whose job is firing other people. There really are such “termination facilitators,” and director Jason Reitman used many real people who had just been fired in real life.
Kathryn Bigelow's “The Hurt Locker,” with Jeremy Renner as a bomb-disposal expert in Iraq, opened in July to great praise but was considered a dark horse because of its low budget, lower profile and earlier release date. Then it started sweeping up year-end awards and many more people saw it. I think it's the current favorite.
James Cameron's “Avatar” you know all about. The top-grossing movie in history, and also a very good film and a sensational experience. But will academy voters cast their ballots on that basis?
The crucial factors may be “The Hurt Locker's” recent victories in two guild awards: It has been honored for best direction and best production. In many years, the Directors Guild winner is a predictor of the best picture Oscar. Of these three, I'm predicting “The Hurt Locker.” If one of the other seven wins, let's say I'll be very surprised.
Actor
Jeff Bridges for “Crazy Heart.” The movie opened late in December and moved out more widely in January. But the distributor, Fox Searchlight, made a wise move: They screened it extensively in advance for movie critics and sent out lots of screeners. Bridges' great performance swept the critics' awards, won a Golden Globe, a SAG award and now looks like the winner. Jeremy Renner or George Clooney could win, but Bridges has the momentum.
Actress
Few people saw this one coming, especially in a year where her two earlier pictures bombed, but Sandra Bullock's comeback in “The Blind Side” was dazzling, and she also collected a lot of year-end awards. Meryl Streep was thought to be the front-runner for “Julie & Julia,” but Oscar likes a comeback role, and Streep has never needed one.
Supporting actor
Christoph Waltz, a relative unknown, won the best actor award at Cannes in May 2009 for “Inglourious Basterds” and has never looked back. I don't know of anyone who doesn't expect him to win this category. A sure thing.
Supporting actress
Here again, what looks like a sure thing: Mo'Nique, for her powerful performance as the mother in “Precious.” Known primarily as a TV personally and comic, she came, in a way, out of nowhere to create a character who was a damaged, cruel woman. The other four nominees were all very, very good, but Mo'Nique will win.
Director
If you vote against Kathryn Bigelow of “The Hurt Locker,” you'll be going against years of precedent that say the winner of the Directors Guild Award will win the Oscar.
Original screenplay
Quentin Tarantino for “Inglourious Basterds.” Who else would have the audacity to rewrite World War II? Tarantino remains a uniquely individual filmmaker, admired as a craftsman and visionary. There's a possibility of an upset in this category if Mark Boal benefits from an Oscar sweep for “The Hurt Locker,” but my money is on QT.
Adapted screenplay
Jason Reitman and Sheldon Turner for “Up in the Air.” I think it's the best of the five nominees, but more important, perhaps, this category gives academy members a chance to vote for what many of them consider the second best film of the year, and some consider the best.
Animated film
“Up,” everyone seems to agree. After it premiered at Cannes, it was for a time considered as a possibility for best picture. Critics would prefer “Coraline.” The possible dark horse here is “The Secret of Kells,” a film that has still to open widely in America. All of the academy members will have had the chance to see it via screeners or on DVD, however, and I'm told it is very good.
Documentary
A race between “The Cove,” about the Japanese slaughter of dolphins, and “Food, Inc.,” a harrowing film about the American food industry, dominated by corporations that place profits ahead of nutrition and farmers. But, along with most others, I haven't seen the other three nominees. On the basis of what I know, I think the winner will be “The Cove.”
Foreign language film
I've seen three of the five. The voters are required to see all five. That's how the unseen “Departures” from Japan surprised everyone by winning this category last year. It turned out the voters may have been right, and “Departures” was one of the year's best films. This year, I believe “The White Ribbon,” an oblique parable by Michael Haneke set in Germany in the years before World War I, is just about certain to win.
Cinematography
Mauro Fiore seems likely to win for the technical mastery and emotional impact of his work in “Avatar,” which raised the bar for 3-D technology. Robert Richardson's work in “Inglourious Basterds” is the best classical cinematography in this category, I think, but Hollywood, infatuated with 3-D, will think otherwise.
OK. Regarding the categories above, I have (or think) I have reasons for my predictions. In the categories below, I think of myself more in the category of your average office-pool entrant. When the results are in, I suspect I'll do better with the picks above than those below. One year I scored something like 95 percent, but I have no idea how I did it.
Art direction
“Avatar,” don't you think?
Costume design
In “Coco Before Chanel,” the costumes were instrumental, and Catherine Leterrier's work might have drawn even Chanel's grudging approval.
Film editing
Here, I'm going for “The Hurt Locker,” because so much of the film's appeal depended on the precise timing and arrangement of shots. Well, that's true of all films, but in this one it became unusually important.
Sound editing
“Inglourious Basterds.”
Makeup
“Star Trek,” I suppose.
Original score
I'm gonna say “Up.” I'm probably gonna be wrong.
Original song
I'm going with “The Weary Kind” (from “Crazy Heart”), with music and lyrics by Ryan Bingham and
T Bone Burnett.
Visual effects
“Avatar,” don't you think?
Picture
“Up in the Air” was the front-runner much of the autumn. It's a movie from and of these times, about unemployment. George Clooney stars as a man whose job is firing other people. There really are such “termination facilitators,” and director Jason Reitman used many real people who had just been fired in real life.
Kathryn Bigelow's “The Hurt Locker,” with Jeremy Renner as a bomb-disposal expert in Iraq, opened in July to great praise but was considered a dark horse because of its low budget, lower profile and earlier release date. Then it started sweeping up year-end awards and many more people saw it. I think it's the current favorite.
James Cameron's “Avatar” you know all about. The top-grossing movie in history, and also a very good film and a sensational experience. But will academy voters cast their ballots on that basis?
The crucial factors may be “The Hurt Locker's” recent victories in two guild awards: It has been honored for best direction and best production. In many years, the Directors Guild winner is a predictor of the best picture Oscar. Of these three, I'm predicting “The Hurt Locker.” If one of the other seven wins, let's say I'll be very surprised.
Actor
Jeff Bridges for “Crazy Heart.” The movie opened late in December and moved out more widely in January. But the distributor, Fox Searchlight, made a wise move: They screened it extensively in advance for movie critics and sent out lots of screeners. Bridges' great performance swept the critics' awards, won a Golden Globe, a SAG award and now looks like the winner. Jeremy Renner or George Clooney could win, but Bridges has the momentum.
Actress
Few people saw this one coming, especially in a year where her two earlier pictures bombed, but Sandra Bullock's comeback in “The Blind Side” was dazzling, and she also collected a lot of year-end awards. Meryl Streep was thought to be the front-runner for “Julie & Julia,” but Oscar likes a comeback role, and Streep has never needed one.
Supporting actor
Christoph Waltz, a relative unknown, won the best actor award at Cannes in May 2009 for “Inglourious Basterds” and has never looked back. I don't know of anyone who doesn't expect him to win this category. A sure thing.
Supporting actress
Here again, what looks like a sure thing: Mo'Nique, for her powerful performance as the mother in “Precious.” Known primarily as a TV personally and comic, she came, in a way, out of nowhere to create a character who was a damaged, cruel woman. The other four nominees were all very, very good, but Mo'Nique will win.
Director
If you vote against Kathryn Bigelow of “The Hurt Locker,” you'll be going against years of precedent that say the winner of the Directors Guild Award will win the Oscar.
Original screenplay
Quentin Tarantino for “Inglourious Basterds.” Who else would have the audacity to rewrite World War II? Tarantino remains a uniquely individual filmmaker, admired as a craftsman and visionary. There's a possibility of an upset in this category if Mark Boal benefits from an Oscar sweep for “The Hurt Locker,” but my money is on QT.
Adapted screenplay
Jason Reitman and Sheldon Turner for “Up in the Air.” I think it's the best of the five nominees, but more important, perhaps, this category gives academy members a chance to vote for what many of them consider the second best film of the year, and some consider the best.
Animated film
“Up,” everyone seems to agree. After it premiered at Cannes, it was for a time considered as a possibility for best picture. Critics would prefer “Coraline.” The possible dark horse here is “The Secret of Kells,” a film that has still to open widely in America. All of the academy members will have had the chance to see it via screeners or on DVD, however, and I'm told it is very good.
Documentary
A race between “The Cove,” about the Japanese slaughter of dolphins, and “Food, Inc.,” a harrowing film about the American food industry, dominated by corporations that place profits ahead of nutrition and farmers. But, along with most others, I haven't seen the other three nominees. On the basis of what I know, I think the winner will be “The Cove.”
Foreign language film
I've seen three of the five. The voters are required to see all five. That's how the unseen “Departures” from Japan surprised everyone by winning this category last year. It turned out the voters may have been right, and “Departures” was one of the year's best films. This year, I believe “The White Ribbon,” an oblique parable by Michael Haneke set in Germany in the years before World War I, is just about certain to win.
Cinematography
Mauro Fiore seems likely to win for the technical mastery and emotional impact of his work in “Avatar,” which raised the bar for 3-D technology. Robert Richardson's work in “Inglourious Basterds” is the best classical cinematography in this category, I think, but Hollywood, infatuated with 3-D, will think otherwise.
OK. Regarding the categories above, I have (or think) I have reasons for my predictions. In the categories below, I think of myself more in the category of your average office-pool entrant. When the results are in, I suspect I'll do better with the picks above than those below. One year I scored something like 95 percent, but I have no idea how I did it.
Art direction
“Avatar,” don't you think?
Costume design
In “Coco Before Chanel,” the costumes were instrumental, and Catherine Leterrier's work might have drawn even Chanel's grudging approval.
Film editing
Here, I'm going for “The Hurt Locker,” because so much of the film's appeal depended on the precise timing and arrangement of shots. Well, that's true of all films, but in this one it became unusually important.
Sound editing
“Inglourious Basterds.”
Makeup
“Star Trek,” I suppose.
Original score
I'm gonna say “Up.” I'm probably gonna be wrong.
Original song
I'm going with “The Weary Kind” (from “Crazy Heart”), with music and lyrics by Ryan Bingham and
T Bone Burnett.
Visual effects
“Avatar,” don't you think?
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Data de inscrição : 23/09/2008
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