Casino Roger Ebert
5. Quentin Tarantino
- Casino Royale Roger Ebert
- Casino Movie Review Roger Ebert
- Casino Roger Ebert
- Casino Royale Review
- Movie Review Casino Royale
- Roger Ebert Casino Royale 1967
- Roger Ebert Best Movies
These are the films critic Roger Ebert listed as his favorite of 1995. » 1967 / 1968 / 1969. Casino 1995 ★★½. Apollo 13 1995 ★★★½. 2 days ago Casino Royale (1967) George Lazenby. On Her Majesty's Secret Service (1969) Sean Connery, first comeback. Diamonds Are Forever (1971) Roger Moore. Live and Let Die (1973) The Man With the Golden.
In 1992 it would seem odd to think that Quentin Tarantino would go on to become one of Ebert’s most championed filmmakers, especially given the rather lacklustre response from Ebert to his otherwise highly acclaimed thriller Reservoir Dogs.
Ebert conversely awarded the film just two and a half stars out of four, praising the dialogue, style and performances but ultimately felt the film lacked depth and humanity, that none of the characters evolved beyond their initial archetype.
Ebert was wise enough to spot potential however, and noted at the end of his review that “Now we know Quentin Tarantino can make a movie like Reservoir Dogs, we know he can make a better one”.
Tarantino did indeed deliver on that promise as his next film was named by Ebert was the second best and most influential film of the entire decade, Pulp Fiction. He praised the non linear storyline, the nature of Tarantino’s writing from the wonderful stylistics to the “seemingly irreverent dialogue” that “builds characters, plotlines and the foundation of the film itself”.
By the time he added Pulp Fiction to his Great Movies collection Ebert had also awarded another four stars to Tarantino’s next film, Jackie Brown. While some see it as a step down Ebert found it to be “perfectly written, timed and played”. He marvelled at Tarantino’s ability to create such empathetic characters, ones that he “wanted to see live, talk, deceive and scheme for hours upon hours.”
The same high rating would continue for Tarantino’s most widely known property, the Kill Bill saga. Ebert awarded both Volume 1 and Volume 2 a full four stars, praising Tarantino’s direction in the first instalment as “brilliantly in command of his technique” and while he admitted the substance was somewhat lacking, the style was enough to compensate for it.
However if Ebert was looking for substance then Volume 2 delivered it for him succeeding in “deepening my appreciation of the saga as a whole”. Ebert would go on to name the collection as one of the best films of the decade just as he had done with Pup Fiction beforehand.
By the time Ingloruous Basterds appeared in 2009 Eberg had already deemed Tarantino to be “the most brilliantly oddball director of his generation” and he reaffirmed that statement when he awarded another four stars to the directors “audacious war movie”.
The same could be said for his contemplation on the director’s 2012 western Django Unchained. Though Ebert never wrote an official review due to ill health, he felt the movie warranted an in depth blog post during which he praised it as “brilliant entertainment”.
4. Steven Spielberg
Though it’s debatable whether a director as popular as Steven Spielberg ever needed a critics endorsement to secure their place as an auteur, Spielberg was a frequent favourite of Ebert, which was particularly obvious when the critic defended Spielberg against those who felt he was merely another commercially interested filmmaker.
From his legendary blockbuster break out back in 1975, Jaws, which Ebert awarded four stars and compared to the thrillers of Hitchcock or Freidkin, while calling it “masterfully suspenseful” and admired its use of strong characters with whom the audience builds a connection with to establish that suspense.
What followed was decade after decade of praise directed towards Spielberg, (with a few notable exceptions in the form of 1941, Always and Hook) from his 1977 passion project Close Encounters of the Third Kind which also earned a four star review and a place on Ebert’s annual best of the year list. He called it an “astonishing achievement, capturing the feeling of awe and wonder we have when considering the likelihood of life beyond the Earth”.
Ebert gave similar praise to Spielberg’s action extravaganza Raiders of the Lost Ark, stating that the film was “an out of body experience, a movie of glorious imagination and break neck speed that grabs you in the first shot, hurtles you through a series of incredible adventures, and deposits you back in reality two hours later — breathless, dizzy, wrung-out, and with a silly grin on your face”.
Raiders of the Lost Ark was one of two Spielberg films to earn a place among Ebert’s list of the top ten films of the 1980s, along with E.T: The Extra-terrestrial. It received the full four stars back in 1982 and would go on to be included in Ebert’s Great Movie collection as well. Not only that, but when Ebert himself was criticised for labelling Spielberg as a great director, his response was “I do not believe the man who made E.T could be labelled as anything other than great”.
When Spielberg switched to more dramatic works Ebert remained just as supporting and continued to give praise to his films. The Colour Purple and Schindler’s List both received the full four star rating, were named the best film of the year they came out and received a Great Movie of their own.
One that did not receive the same honour was Saving Private Ryan, but that did not stop Ebert once again awarding Spielberg four stars and praising the director’s war epic as “astonishingly powerful”.
This trend continued into the 2000s with Minority Report also gaining the coveted four star review and being named the best film of 2002, as well as a place among Ebert’s favourite films of the decade. The same can be said for Munich, A.I: Artificial Intelligence (which even earned another Great Movie ) right up to the last Spielberg film Ebert reviewed, Lincoln, with yet another four star review and spot on the annual top ten list.
3. Terrance Malick
Casino Royale Roger Ebert
By this point in his career Terrance Malick almost carries a mythical quality to him, as if his movies can transcend one simple interpretation and always represent far more. Ebert encountered Malick at the same point the rest of the world did with his 1973 directorial debut Badlands.
At the time he awarded it four stars and was impressed by its treatment of its own characters “They are strange people, as were their real-life models….They were just two dumb kids who got into a thing and didn’t have the sense to stop”.
Ebert was also impressed by the visual aesthetic of Badlands, but he was even more impressed by the cinematography of Malick’s next film Days of Heaven, which he called “one of the most beautiful films ever made” in another four star review. Unlike Malick’s other work Days of Heaven was not widely acclaimed and left many critics divided. But Ebert stood by his high praise and eventually added the film to his Great Movies collection along with Badlands.
After a long hiatus Malick returned with his third film, The Thin Red Line and despite being singled out by many as Malick’s greatest film Ebert was less enthusiastic, awarding it three stars.
For the first time he felt that Malick’s style was not synchronised with the story he was trying to tell, stating that there was a sense of disconnect by the fact that “The actors in The Thin Red Line are making one movie, and the director is making another.”
However Malick was once again receiving the maximum amount of praise with his 2005 film The New World. Evert admired the way Malick went about “stripping all the fancy and lore from the story of Pochahintas and imagines how new and strange these people must have seemed to one another”.
He praised Malick as “a visionary” who handled his subject matter with “with almost trembling tact” and praised his ability to focus more on emotions than anything else, bringing forth the feelings at the centre of the film.
In 2011 Malick returned with his experimental drama, The Tree of Life. Upon its release it proved to be a divisive project, but Ebert awarded it yet another four stars in his review. One of the opening lines of that review compared the films boldness of vision to Kubrick’s 2001, and then went on to praise the director’s “fierce evocation of human feeling”.
Not only did Ebert include the film on his annual best of the year list but he went a step further, as the following year the Sight and Sound critics plot required the world’s leading film critics and scholars to select their personal picks for the ten greatest films ever made. Ebert’s choice was the recent but deeply powerful film by Malick, The Tree of Life, a movie he selected for “it’s breath taking scope, but also its humane centre”.
Malick’s next film was not only the last film from the director that Ebert would review, but it was also the last film the famed critic would ever review. In one of his most poignant reviews Ebert addresses those who left the film unsatisfied, and felt that the film. He wrote that “I understand that, and I think Terrence Malick does, too. But here he has attempted to reach more deeply than that: to reach beneath the surface, and find the soul in need”. A fitting way for Ebert to leave his loyal readers and depart.
2. Werner Herzog
From his first review of a Herzog film, the German director was already cemented as one of Ebert’s favourite directors of all time, due in no small part to the fact that he would place Aguirre, the Wrath of God on his Sight and Sound selection of the ten greatest movies ever made.
In his original review he wrote that “Herzog’s other films sometimes speak unclearly; this one speaks in blunt, unforgiving despair”, he regarded it as a horrifying and obsessive film, one that was made all the more disturbing due to being based on fact. Ebert praised the “bizarre and affecting” images of the film, the gradual onset of madness and its “frightening intensity”.
Aguirre was one of the first films to be added to Ebert’s Great Movies collection and would become one of many from Herzog that found a place there. Another was Herzog’s 1974 picture The Enigma of Kaspar Hauser, and wrote that “In Herzog the line between fact and fiction is a shifting one. He cares not for accuracy but for effect, for a transcendent ecstasy”, proving that the directors films had a distinct and profound effect on the critic to draw such praise from him.
The same could be said for Herzog’s next film, which received a further full stars and became the eventual recipient of another Great Movies Essay, in which Ebert wrote that “From it I get a feeling that evokes my gloom as I see a world sinking into self-destruction”. On each occasion Herzog’s films created a haunting and impactful effect on Ebert that clearly stayed with the critic long after the credits had finished rolling.
Herzog’s next two films were to receive the exact same honour. “One of the oddest films ever made” was what Ebert wrote about 1977’s Stroszek, but it was clear Ebert had not only become accustomed to Herzog’s unique filmmaking sensibilities but it was one of the aspects he most admired about the director, “Who else but Werner Herzog would make a film about a retarded ex-prisoner, a little old man and a prostitute, who leave Germany to begin a new life in a house trailer in Wisconsin?”
Ebert expressed a different kind of admiration for Herzog’s next film, one that adapted the story of Nosferatu the Vampyre, calling it “rich, heavy, deep”, he admired its beauty just as much as its ability to invoke terror and expressed that it was the “most evocative series of images centred around a vampire that I have seen since F.W Murnau’s Nosferatu”. He concluded that the film could not be confined to a single genre, that it was “about dread itself” and was undefinable.
During the production of Herzog’s next film, when Ebert saw set images he feared the director had embarked upon a suicide mission. Before the film was even complete Ebert contemplated that if the project was completed and Herzog was able to survive the ordeal “one of the greatest accomplishments in the history of filmmaking”.
When he saw the film itself, despite acknowledging some of its flaws, Ebert regarded it as “a movie in the great tradition of grandiose cinematic visions”. Despite “not quite reaching perfection” Ebert still awarded the film four stars, “as a document of a quest and a dream, and as the record of man’s audacity and foolish, visionary heroism, there has never been another movie like it”.
At the turn of the century Herzog made the move to crafting more documentary features than dramatic ones. But Ebert admired his ability to make his non-fiction works as riveting as his staged ones, giving positive reviews to My Best Friend, Invincible, Grizzly Man and Encounters at the End of the World.
But when he made a return to narrative features, Ebert was still just as enthusiastic over Herzog’s work, awarding three and a half stars to Rescue Dawn in 2007 and another four star rating to the director’s divisive crime drama, Bad Lieutenant: Port of Call – New Orleans.
1. Martin Scorsese
In 1967 Roger Ebert was a relatively inexperienced film critic, but having just seen an early feature at the Chicago International Film Festival of a recent independent movie named I Call First, he chose to award it three and a half stars out of four.
Two years later when the film had finally been given a wide release and the title had been changed to Who’s That Knocking On My Door Ebert admitted he may have been over enthusiastic but was still positive about the film, and awarded it the same rating.
He also focussed on its director, for whom the feature had been a debut and said that “It is possible that with more experience and maturity Scorsese will direct more polished, finished films.” That was, to say the least, an inspired piece of insight.
Despite a relatively slow start with his next feature, a low budget exploitation movie called Boxcar Bertha, Martin Scorsese would go on to become one of Ebert’s most beloved and cherished filmmakers of all time, one that he had endorsed right at the start of his career and continued to do so right up to the critics death in 2013.
In 1973 Ebert awarded the director his first four star rating when he released the independent crime drama, Mean Streets, writing that “In countless ways, right down to the detail of modern TV crime shows, Mean Streets is one of the source points of modern movies.”
Ebert was similarly enthusiastic about Scorsese’s next feature titled Alice Doesn’t Live Here Anymore. He cited it as “one of the most perceptive, funny, occasionally painful portraits of an American woman I’ve seen”. But this proved to be just a small dose of the filmmaker’s full potential as just a year later he released the defining masterpiece Taxi Driver.
A film that Ebert showed particular insight and poignancy towards when reviewing it, commenting on the films deeper meaning and themes, what it said about the human condition and the way it handled its own tortured characters.
Scorsese’s next masterpiece came in 1980, another collaboration with Robert De Niro, the boxing biopic Raging Bull. Ebert called it “the culmination of Scorsese’s earlier promise” and an instant classic. Both he and his At the Movies co-host Gene Siskel deemed it to be the greatest movie of the decade, and when composing his list of the ten greatest movies ever made Ebert was sure to include Raging Bull.
Ebert gave similarly glowing reviews to other Scorsese features of the 1980s including After Hours and The Last Temptation of Christ. They both ended up on Ebert’s annual list as well as a place within the Great Movies Collection. By this point Ebert considered Scorsese to be a staple of modern American filmmaking and that status would only increase throughout the next decade.
In 1990 Scorsese released his widely acclaimed crime drama, Goodfellas. Ebert names it the best film of that year and among the top three of the decade. He wrote that “No finer film has ever been made about organized crime – not even The Godfather.” Ebert would award another four star rating to Scorsese’s 1993 period piece, The Age of Innocence, an adaptation of the novel of the same name by Edith Wharton.
Ebert noted how the film was not as far a cry away from Scorsese’s other work as some critics might have thought, “”The story told here is brutal and bloody, the story of a man’s passion crushed, his heart defeated. Yet it is also much more, and the last scene of the film, which pulls everything together, is almost unbearably poignant.”
Casino Movie Review Roger Ebert
After two more four star reviews that were awarded to Casino and Bringing Out the Dead, as well as a string of other positive reviews to Scorsese’s various films of the 1990s Ebert continued to praise the director into the next decade. His highly admirable review of The Departed, the film that would finally give Scorsese his long awaited Best Director Oscar, stated that “This movie is like an examination of conscience and identity”.
As well as awarding a further four stars to the director’s acclaimed documentary No Direction Home, in 2008 Ebert would release a book simply titled, Scorsese. It featured reviews and revisions of the acclaimed directors work as well as a number of interviews with him. As the only director to have an entire book by Ebert, devoted solely to his career it marks him as one of Ebert’s most championed director.
Author Bio: Joshua Price considers himself more of a fan that happens to write near insane ramblings on movies and directors like Scorsese, Spielberg, Bergman, Kubrick and Lumet rather than an actual critic and other insane ramblings can be found criticalfilmsuk.blogspot.co.uk.
These ten best lists for movie critics Gene Siskel and Roger Ebert have been collected from various postings in the Usenet newsgroup rec.arts.movies. The lists through 1978 come from the Chicago Tribune for Siskel, and the Chicago Sun-Times for Ebert. After that most of the lists come from their best of the year TV show.
This page includes the years that both Siskel and Ebert did top lists. Ebert's other lists are at this site's Movie Lists page.
Gene Siskel | Roger Ebert |
---|---|
1. Z | 1. Z |
2. Midnight Cowboy | 2. Medium Cool |
3. Alice's Restaurant | 3. Weekend |
4. Simon of the Desert | 4. if... |
5. The Heart Is a Lonely Hunter | 5. Last Summer |
6. Oh! What a Lovely War 31 | 6. The Wild Bunch |
7. The Wild Bunch | 7. Easy Rider |
8. if... | 8. True Grit |
9. Pretty Poison | 9. Downhill Racer |
10. Bob & Carol & Ted & Alice | 10. War and Peace |
1970
Gene Siskel | Roger Ebert |
---|---|
1. My Night at Maud's | 1. Five Easy Pieces |
2. M*A*S*H | 2. M*A*S*H |
3. Women in Love | 3. The Revolutionary |
4. Five Easy Pieces | 4. Patton |
5. The Passion of Anna | 5. Woodstock |
6. Adalen 31 | 6. My Night and Maud's |
7. Salesman | 7. Adalen 31 |
8. Woodstock | 8. The Passion of Anna |
9. Triolgy | 9. The Wild Child |
10. The Wild Child | 10. Fellini Satyricon |
Gene Siskel | Roger Ebert |
---|---|
1. Claire's Knee | 1. The Last Picture Show |
2. A New Leaf | 2. McCabe and Mrs. Miller |
3. McCabe and Mrs. Miller | 3. Claire's Knee |
4. Little Big Man | 4. The French Connection |
5. The Last Picture Show | 5. Sunday, Bloody Sunday |
6. Sunday, Bloody Sunday | 6. Taking Off |
7. Bed and Board | 7. Carnal Knowledge |
8. Dirty Harry | 8. Tristana |
9. Husbands | 9. Goin' Down the Road |
10. Taking Off | 10. Bed and Board |
1972
Gene Siskel | Roger Ebert |
---|---|
1. The Godfather | 1. The Godfather |
2. The Sorrow and the Pity | 2. Chole in the Afternoon |
3. Le Boucher | 3. Le Boucher |
4. Cabaret | 4. Murmur of the Heart |
5. Two English Girls | 5. The Green Wall |
6. A Clockwork Orange | 6. The Sorrow and the Pity |
7. Chloe in the Afternoon | 7. The Garden of Finzi-Continis |
8. Frenzy | 8. Minnie and Moskowitz |
9. Sounder | 9. Sounder |
10. Ulzana's Raid | 10. The Great Northfield, Minnesota Raid |
Casino Roger Ebert
Gene Siskel | Roger Ebert |
---|---|
1. The Emigrants / The New Land | 1. Cries and Whispers |
2. Last Tango in Paris | 2. Last Tango in Paris |
3. The Exorcist | 3. The Emigrants / The New Land |
4. Cries and Whispers | 4. Blume in Love |
5. The Day of the Jackal | 5. The Iceman Cometh |
6. The Last of Sheila | 6. The Exorcist |
7. The Day of the Dolphin | 7. The Day of the Jackal |
8. American Graffiti | 8. American Graffiti |
9. Sisters | 9. Fellini's Roma |
10. The Long Goodbye | 10. The Friends of Eddie Coyle |
1974
Gene Siskel | Roger Ebert |
---|---|
1. Day for Night | 1. Scenes from a Marriage |
2. The Last Detail | 2. Chinatown |
3. Amarcord | 3. The Mother and the Whore |
4. The Conversation | 4. Amarcord |
5. Mean Streets | 5. The Last Detail |
6. Scenes from a Marriage | 6. The Mirages |
7. Lacombe, Lucien | 7. Day for Night |
8. Harry and Tonto | 8. Mean Streets |
9. The Mother and the Whore | 9. My Uncle Antoine |
10. Wedding in Blood | 10. The Conversation |
Gene Siskel | Roger Ebert |
---|---|
1. Nashville | 1. Nashville |
2. The Passenger | 2. Night Moves |
3. Love and Death | 3. Alice Doesn't Live Here Anymore |
4. Dog Day Afternoon | 4. Farewell, My Lovely |
5. Barry Lyndon | 5. The Phantom of Liberty |
6. And Now My Love | 6. A Brief Vacation |
7. Dodes'ka-den | 7. And Now My Love |
8. The Homecoming | 8. A Woman Under the Influence |
9. Antonia: Portrait of a Women | 9. In Celebration |
10. Hustle | 10. Dog Day Afternoon |
Casino Royale Review
1976
Gene Siskel | Roger Ebert |
---|---|
1. All the President's Men | 1. Small Change |
2. Network | 2. Taxi Driver |
3. Brothel No. 8 | 3. The Magic Flute |
4. Small Change | 4. The Clockmaker |
5. Stay Hungry | 5. Network |
6. Cousin, Cousine | 6. Swept Away...by an unusual destiny in the blue sea of August |
7. Taxi Driver | 7. Rocky |
8. Buffalo Bill and the Indians, or Sitting Bull's History Lesson | 8. All the President's Men |
9. The Seven-Per-Cent Solution | 9. Silent Movie |
10. The Man Who Would Be King | 10. The Shootist |
Gene Siskel | Roger Ebert |
---|---|
1. Annie Hall | 1. 3 Women |
2. The Late Show | 2. Providence |
3. In the Realm of the Senses | 3. The Late Show |
4. Close Encounters of the Third Kind | 4. A Woman's Decision |
5. Saturday Night Fever | 5. Jail Bait |
6. Harlan County, U.S.A. | 6. Close Encounters of the Third Kind |
7. Star Wars | 7. Aguirre: Wrath of God |
8. Oh, God! | 8. Annie Hall |
9. Pumping Iron | 9. Sorcerer |
10. Rolling Thunder | 10. Star Wars |
1978
Gene Siskel | Roger Ebert |
---|---|
1. Straight Time | 1. An Unmarried Woman |
2. Pretty Baby | 2. Days of Heaven |
3. Days of Heaven | 3. Heart of Glass |
4. Blue Collar | 4. Stroszek |
5. Autumn Sonata | 5. Autumn Sonata |
6. The Buddy Holly Story | 6. Interiors |
7. Coming Home | 7. Halloween |
8. Halloween | 8. National Lampoon's Animal House |
9. Magic | 9. Kings of the Road |
10. Stoszek | 10. Superman |
Gene Siskel | Roger Ebert |
---|---|
1. Hair | 1. Apocalypse Now |
2. Kramer vs. Kramer | 2. Breaking Away |
3. The Deer Hunter | 3. The Deer Hunter |
4. Breaking Away | 4. The Marriage of Maria Braun |
5. Manhattan | 5. Hair |
6. The Marriage of Maria Braun | 6. Saint Jack |
7. Nosferatu | 7. Kramer vs. Kramer |
8. The Onion Field | 8. The China Syndrome |
9. Time After Time | 9. Nosferatu |
10. The China Syndrome | 10. 10 |
The Decade (1970s)
Gene Siskel | Roger Ebert |
---|---|
Last Tango in Paris | An Unmarried Woman |
The Sorrow and the Pity | Apocalypse Now |
Annie Hall | Amarcord |
The Emigrants & The New Land | Breaking Away |
The Godfather I & II | Nashville |
The Conversation | Days of Heaven |
Mean Streets | The Deer Hunter |
The Last Detail | Heart of Glass |
Saturday Night Fever | Cries and Whispers |
Le Boucher | The Godfather I & II |
[There wasn't any ranking so the movies are listed in the order they were presented in the show.]
Gene Siskel | Roger Ebert |
---|---|
1. Raging Bull | 1. The Black Stallion |
2. Ordinary People | 2. Raging Bull |
3. Coal Miner's Daughter | 3. Kagemusha |
4. The Tree of Wooden Clogs | 4. Being There |
5. Kagemusha | 5. Ordinary People |
6. Being There | 6. The Great Santini |
7. The Black Stallion | 7. The Empire Strikes Back |
8. The Blues Brothers | 8. Coal Miner's Daughter |
9. The Great Santini | 9. American Gigolo |
10. The Stunt Man | 10. Best Boy |
1981
Gene Siskel | Roger Ebert |
---|---|
1. Ragtime | 1. My Dinner with Andre |
2. My Dinner with Andre | 2. Chariots of Fire |
3. Raiders of the Lost Ark | 3. Gates of Heaven |
4. Mon Oncle D'Amerique | 4. Raiders of the Lost Ark |
5. Gates of Heaven | 5. Heartland |
6. Bye Bye Brazil | 6. Atlantic City |
7. Prince of the City | 7. Thief |
8. Melvin and Howard | 8. Body Heat |
9. Body Heat | 9. Tess |
10. The French Lieutenent's Woman | 10. REDS |
Gene Siskel | Roger Ebert |
---|---|
1. Moonlighting | 1. Sophie's Choice |
2. Tootsie | 2. Diva |
3. E.T. | 3. E.T. |
4. Diva | 4. Fitzcarraldo / Burden of Dreams |
5. Mephisto | 5. Personal Best |
6. Lola | 6. Das Boot |
7. Personal Best | 7. Mephisto |
8. Three Brothers | 8. Moonlighting |
9. Das Boot | 9. The Verdict |
10. An Officer and a Gentleman | 10. The Weavers: Wasn't That a Time |
1983
Gene Siskel | Roger Ebert |
---|---|
1. The Right Stuff | 1. The Right Stuff |
2. Terms of Endearment | 2. Terms of Endearment |
3. Betrayl | 3. The Year of Living Dangerously |
4. Fanny and Alexander | 4. Fanny and Alexander |
5. Star 80 | 5. El Norte |
6. The Year of Living Dangerously | 6. Testament |
7. Silkwood | 7. Silkwood |
8. Pauline at the Beach | 8. Say Amen, Somebody |
9. Risky Business | 9. Risky Business |
10. The Big Chill | 10. The Return of Martin Guerre |
Gene Siskel | Roger Ebert |
---|---|
1. Once Upon a Time in America | 1. Amadeus |
2. Amadeus | 2. Paris, Texas |
3. The Cotton Club | 3. Love Streams |
4. Entre Nous | 4. This is Spinal Tap |
5. Purple Rain | 5. The Cotton Club |
6. The Killing Fields | 6. Secret Honor |
7. Secret Honor | 7. The Killing Fields |
8. A Passage to India | 8. Stranger than Paradise |
9. Micki and Maude | 9. Choose Me |
10. The Natural | 10. Purple Rain |
1985
Gene Siskel | Roger Ebert |
---|---|
1. Shoah | 1. The Color Purple |
2. Ran | 2. After Hours |
3. The Color Purple | 3. The Falcon and the Snowman |
4. Streetwise | 4. Prizzi's Honor |
5. Prizzi's Honor | 5. Ran |
6. The Official Story | 6. Witness |
7. Mishima | 7. Mad Max: Beyond Thunderdome |
8. The Facon and the Snowman | 8. Lost in America |
9. Back to the Future | 9. Street Wise |
10. The Purple Rose of Cairo | 10. Blood Simple |
Movie Review Casino Royale
[Ebert excluded Shoah from his list, not because he thought the other ten films were better, but because he felt it was in a class by itself and it wouldn't be appropriate to rank ordinary movies against it.]
Gene Siskel | Roger Ebert |
---|---|
1. Hannah and Her Sisters | 1. Platoon |
2. Vagabond | 2. Round Midnight |
3. A Room with a View | 3. Hannah and Her Sisters |
4. Mona Lisa | 4. Sid and Nancy |
5. Peggy Sue Got Married | 5. Lucas |
6. Blue Velvet | 6. Vagabond |
7. Platoon | 7. Trouble in Mind |
8. Children of a Lesser God | 8. Down and out in Beverly Hills |
9. Round Midnight | 9. Peggy Sue Got Married |
10. The Fly | 10. Hard Choices |
1987
Gene Siskel | Roger Ebert |
---|---|
1. The Last Emperor | 1. House of Games |
2. Full Metal Jacket | 2. The Big Easy |
3. House of Games | 3. Barfly |
4. Jean de Florette / Manon of the Spring | 4. The Last Emperor |
5. Broadcast News | 5. Moonstruck |
6. Moonstruck | 6. Prick Up Your Ears |
7. Radio Days | 7. Radio Days |
8. River's Edge | 8. Broadcast News |
9. Prick Up Your Ears | 9. Lethal Weapon |
10. Roxanne | 10. Housekeeping |
Gene Siskel | Roger Ebert |
---|---|
1. The Last Temptation Of Christ | 1. Mississippi Burning |
2. Who Framed Roger Rabbit | 2. The Accidental Tourist |
3. Bull Durham | 3. The Unbearable Lightness Of Being |
4. Little Dorrit | 4. Shy People |
5. The Accidental Tourist | 5. Salaam Bombay |
6. Midnight Run | 6. A Fish Called Wanda |
7. The Thin Blue Line | 7. Wings Of Desire |
8. Hotel Terminus: The Life And Times of Klaus Barbie | 8. Who Framed Roger Rabbit |
9. The Unbearable Lightness Of Being | 9. Dear America: Letters Home From Vietnam |
10. Working Girl | 10. Running On Empty |
1989
Gene Siskel | Roger Ebert |
---|---|
1. Do the Right Thing | 1. Do the Right Thing |
2. Roger & Me | 2. Drugstore Cowboy |
3. Drugstore Cowboy | 3. My Left Foot |
4. Enemies, A Love Story | 4. Born on the Fourth of July |
5. Born on the Fourth of July | 5. Roger & Me |
6. The Little Mermaid | 6. The Mighty Quinn |
7. Crimes and Misdemeanors | 7. Field of Dreams |
8. The Fabulous Baker Boys | 8. Crimes and Misdemeanors |
9. Say Anything | 9. Driving Miss Daisy |
10. The War of the Roses | 10. Say Anything |
Gene Siskel | Roger Ebert |
---|---|
1. Raging Bull | 1. Raging Bull |
2. Shoah | 2. The Right Stuff |
3. The Right Stuff | 3. E.T. |
4. My Dinner with Andre | 4. Do The Right Thing |
5. Who Framed Roger Rabbit | 5. My Dinner with Andre |
6. Do The Right Thing | 6. Raiders of the Lost Ark |
7. Once Upon A Time In America (long version) | 7. Ran |
8. Moonlighting | 8. Mississippi Burning |
9. Sid and Nancy | 9. Platoon |
10. Kagemusha | 10. House of Games |
1990
Gene Siskel | Roger Ebert |
---|---|
1. Goodfellas | 1. Goodfellas |
2. After Dark, My Sweet | 2. Monsieur Hire |
3. Avalon | 3. Dances With Wolves |
4. The Plot Against Harry | 4. The Grifters |
5. Too Beautiful For You | 5. Reversal Of Fortune |
6. Die Hard II: Die Harder | 6. Santa Sangre |
7. Dances With Wolves | 7. Last Exit to Brooklyn |
8. Reversal Of Fortune | 8. Awakenings |
9. The Freshman | 9. The Cook, the Thief, His Wife, and Her Lover |
10. The Godfather Part III | 10. Mountains of the Moon |
Gene Siskel | Roger Ebert |
---|---|
1. Hearts of Darkness | 1. JFK |
2. An Angel at My Table | 2. Boyz N the Hood |
3. Boyz N the Hood | 3. Beauty and the Beast |
4. La Belle Noiseuse | 4. Grand Canyon |
5. Beauty and the Beast | 5. My Father's Glory / My Mother's Castle |
6. Grand Canyon | 6. A Woman's Tale |
7. JFK | 7. Life is Sweet |
8. Ju Dou | 8. The Man in the Moon |
9. Daddy Nostalgi | 9. Thelma & Louise |
10. Once Around | 10. The Rapture |
1992
Gene Siskel | Roger Ebert |
---|---|
1. One False Move | 1. Malcolm X |
2. The Player | 2. One False Move |
3. Howards End | 3. Howards End |
4. The Crying Game | 4. Flirting |
5. Malcolm X | 5. The Crying Game |
6. The Hairdresser's Husband | 6. Damage |
7. Damage | 7. The Hairdresser's Husband |
8. Wayne's World | 8. The Player |
9. Mississippi Masala | 9. Unforgiven |
10. Under Siege | 10. Bad Lieutenant |
Gene Siskel | Roger Ebert |
---|---|
1. Schindler's List | 1. Schindler's List |
2. Short Cuts | 2. The Age of Innocence |
3. The Piano | 3. The Piano |
4. Farewell My Concubine | 4. The Fugitive |
5. Menace II Society | 5. The Joy Luck Club |
6. The Fugitive | 6. Kalifornia |
7. The Age of Innocence | 7. Like Water For Chocolate |
8. The Joy Luck Club | 8. Menace II Society |
9. King of the Hill | 9. What's Love Got to Do With It |
10. Map of the Human Heart | 10. Ruby in Paradise |
1994
Gene Siskel | Roger Ebert |
---|---|
1. Hoop Dreams | 1. Hoop Dreams |
2. Pulp Fiction | 2. Blue / White / Red |
3. Ed Wood | 3. Pulp Fiction |
4. 32 Short Films About Glenn Gould | 4. Forrest Gump |
5. Quiz Show | 5. The Last Seduction |
6. Forrest Gump | 6. Fresh |
7. Vanya On 42nd Street | 7. The Blue Kite |
8. The Shawshank Redemption | 8. Natural Born Killers |
9. Red Rock West | 9. The New Age |
10. Little Women | 10. Quiz Show |
Gene Siskel | Roger Ebert |
---|---|
1. Crumb | 1. Leaving Las Vegas |
2. Toy Story | 2. Crumb |
3. Nixon | 3. Dead Man Walking |
4. Babe | 4. Nixon |
5. Dead Man Walking | 5. Casino |
6. Leaving Las Vegas | 6. Apollo 13 |
7. The American President | 7. Exotica |
8. Exotica | 8. My Family |
9. Apollo 13 | 9. Carrington |
10. Les Miserables | 10. A Walk in the Clouds |
Roger Ebert Casino Royale 1967
1996
Roger Ebert Best Movies
Gene Siskel | Roger Ebert |
---|---|
1. Fargo | 1. Fargo |
2. Secrets & Lies | 2. Breaking the Waves |
3. Breaking the Waves | 3. Secrets & Lies |
4. The English Patient | 4. Lone Star |
5. Lone Star | 5. Welcome to the Dollhouse |
6. Looking for Richard | 6. Bound |
7. Paradise Lost | 7. Hamlet |
8. Welcome to the Dollhouse | 8. Everyone Says I Love You |
9. Kingpin | 9. Heidi Fleiss: Hollywood Madam |
10. Bound | 10. Big Night |
Gene Siskel | Roger Ebert |
---|---|
1. The Ice Storm | 1. Eve's Bayou |
2. L.A. Confidential | 2. The Sweet Hereafter |
3. Wag the Dog | 3. Boogie Nights |
4. In the Company of Men | 4. Maborosi |
5. The End of Violence | 5. Jackie Brown |
6. The Full Monty | 6. Fast, Cheap & Out of Control |
7. The Sweet Hereafter | 7. L.A. Confidential |
8. Good Will Hunting | 8. In the Company of Men |
9. Mrs. Brown | 9. Titanic |
10. As Good As It Gets | 10. Wag the Dog |
1998
Gene Siskel | Roger Ebert |
---|---|
1. Babe: Pig In the City | 1. Dark City |
2. The Thin Red Line | 2. Pleasantville |
3. Pleasantville | 3. Saving Private Ryan |
4. Saving Private Ryan | 4. A Simple Plan |
5. Shakespeare In Love | 5. Happiness |
6. The Truman Show | 6. Elizabeth |
7. Antz | 7. Babe: Pig In the City |
8. Simon Birch | 8. Shakespeare In Love |
9. There's Something About Mary | 9. Life Is Beautiful |
10. Waking Ned Devine | 10. Primary Colors |