Böcker av Roger Ebert

Roger Ebert's I Hated Hated Hated This Movie, which gathered some of his most scathing reviews, was a best-seller. This new collection continues the tradition, reviewing not only movies that were at the bottom of the barrel, but also movies that he found underneath the barrel.From Roger's review of Deuce Bigalow: European Gigolo (0 stars): "e;The movie created a spot of controversy in February 2005. According to a story by Larry Carroll of MTV News, Rob Schneider took offense when Patrick Goldstein of the Los Angeles Times listed this year's Best Picture nominees and wrote that they were 'ignored, unloved, and turned down flat by most of the same studios that . . . bankroll hundreds of sequels, including a follow-up to Deuce Bigalow: Male Gigolo, a film that was sadly overlooked at Oscar time because apparently nobody had the foresight to invent a category for Best Running Penis Joke Delivered by a Third-Rate Comic.'Schneider retaliated by attacking Goldstein in full-page ads in Daily Variety and the Hollywood Reporter. In an open letter to Goldstein, Schneider wrote: 'Well, Mr. Goldstein, I decided to do some research to find out what awards you have won. I went online and found that you have won nothing. Absolutely nothing. No journalistic awards of any kind. . . . Maybe you didn't win a Pulitzer Prize because they haven't invented a category for Best Third-Rate, Unfunny Pompous Reporter Who's Never Been Acknowledged by His Peers. . . .'Schneider was nominated for a 2000 Razzie Award for Worst Supporting Actor, but lost to Jar-Jar Binks. But Schneider is correct, and Patrick Goldstein has not yet won a Pulitzer Prize. Therefore, Goldstein is not qualified to complain that Columbia financed Deuce Bigalow: European Gigolo while passing on the opportunity to participate in Million Dollar Baby, Ray, The Aviator, Sideways, and Finding Neverland. As chance would have it, I have won the Pulitzer Prize, and so I am qualified. Speaking in my official capacity as a Pulitzer Prize winner, Mr. Schneider, your movie sucks."e;

A paragon of cinema criticism for decades, Roger Ebert‿with his humor, sagacity, and no-nonsense thumb‿achieved a renown unlikely ever to be equaled. His tireless commentary has been greatly missed since his death, but, thankfully, in addition to his mountains of daily reviews, Ebert also left behind a legacy of lyrical long-form writing. And with Two Weeks in the Midday Sun, we get a glimpse not only into Ebert the man, but also behind the scenes of one of the most glamorous and peculiar of cinematic rituals: the Cannes Film Festival. More about people than movies, this book is an intimate, quirky, and witty account of the parade of personalities attending the 1987 festival‿Ebert‿s twelfth, and the fortieth anniversary of the event. A wonderful raconteur with an excellent sense of pacing, Ebert presents lighthearted ruminations on his daily routine and computer troubles alongside more serious reflection on directors such as Fellini and Coppola, screenwriters like Charles Bukowski, actors such as Isabella Rossellini and John Malkovich, the very American press agent and social maverick Billy “Silver Dollarâ€? Baxter, and the stylishly plunging necklines of yore. He also comments on the trajectory of the festival itself and the “enormous happinessâ€? of sitting, anonymous and quiet, in an ordinary French café. And, of course, he talks movies. Illustrated with Ebert‿s charming sketches of the festival and featuring both a new foreword by Martin Scorsese and a new postscript by Ebert about an eventful 1997 dinner with Scorsese at Cannes, Two Weeks in the Midday Sun is a small treasure, a window onto the mind of this connoisseur of criticism and satire, a man always so funny, so un-phony, so completely, unabashedly himself.

At the time of his death in 2013, Roger Ebert was arguably the most influential writer about movies in the United States. He had been film critic for the "Chicago Sun-Times" for over 45 years, reviewing more movies than any other critic active during that time and pioneering in both television reporting and reviewing. In 1975 he was the first film critic to win the Pulitzer Prize for criticism. Among the film directors who started working at about the same time Ebert started writing for the "Sun-Times," two inspired a particularly intense devotion. One was Martin Scorsese, the subject of "Scorsese by Ebert" (published in 2008). The other was Werner Herzog--Ebert first saw one of his films at the New York Film Festival in 1968. This volume gathers together all Ebert's reviews of individual films (as well as longer pieces he wrote for "The Great Movies" series), free-wheeling interviews, and essays in which he discusses various aspects of Herzog's achievement. It also includes a longer interview/discussion with Herzog at Facet's Multimedia in 1979 ("Images at the Horizon"), which offers fascinating details about Herzog's early career. Herzog himself has contributed a Foreword in which he discusses their long relationship. As one of the readers of the manuscript noted, "'Herzog by Ebert' documents a unique and productive relationship between a filmmaker and a film critic. Anyone who watches Herzog's films will surely benefit from Ebert's insights." It will be an essential book for all who admire Herzog's (and Ebert's) work.

No film critic has ever been as influential--or as beloved-- as Roger Ebert. Over more than four decades, he built a reputation writing reviews for the Chicago Sun-Times and, later, arguing onscreen with rival Chicago Tribune critic Gene Siskel and later Richard Roeper about the movies they loved and loathed. But Ebert went well beyond a mere "thumbs up" or "thumbs down." Readers could always sense the man behind the words, a man with interests beyond film and a lifetime's distilled wisdom about the larger world. Although the world lost one of its most important critics far too early, Ebert lives on in the minds of moviegoers today, who continually find themselves debating what he might have thought about a current movie.The Great Movies IV is the fourth--and final--collection of Roger Ebert's essays, comprising sixty-two reviews of films ranging from the silent era to the recent past. From films like The Cabinet of Caligari and Viridiana that have been considered canonical for decades to movies only recently recognized as masterpieces to Superman, The Big Lebowski, and Pink Floyd: The Wall, the pieces gathered here demonstrate the critical acumen seen in Ebert's daily reviews and the more reflective and wide-ranging considerations that the longer format allowed him to offer. Ebert's essays are joined here by an insightful foreword by film critic Matt Zoller Seitz, the current editor-in-chief of the official Roger Ebert website, and a touching introduction by Chaz Ebert. A fitting capstone to a truly remarkable career, The Great Movies IV will introduce newcomers to some of the most exceptional movies ever made, while revealing new insights to connoisseurs as well.

A collection of essays on the creme de la creme of the silver screen, each one a model of critical appreciation and a blend of love and analysis that sends readers back to the films with a fresh set of eyes and renewed enthusiasm.

Chronicles various feature films in Martin Scorsese's oeuvre, from his debut to his 2008 release, the "Rolling Stones" documentary "Shine a Light". This title includes Scorsese's own insights on both his accomplishments and disappointments. It also provides a framework for understanding both Scorsese and his profound impact on American cinema.

The most celebrated memoir of the year: a "candid, funny and kaleidoscopic" work from "one of our most important cultural voices," beloved film critic Roger Ebert brings readers a "candid, moveable feast" of a book---now in trade paperback!*Quotes from The New York Times, Publisher's Weekly, and New York Times Book Review.