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Michelle Rodriguez

Reviews

F9 (2021)
Crisis (2021)
She Dies Tomorrow (2020)
Alita: Battle Angel (2019)
Widows (2018)
The Assignment (2017)
Furious 7 (2015)
Machete Kills (2013)
Turbo (2013)
Avatar (2009)
Fast & Furious (2009)
S.W.A.T. (2003)
Blue Crush (2002)
Resident Evil (2002)
Girlfight (2000)

Blog Posts

Ebert Club

#342 November 27, 2018

Matt writes: It's immensely poignant that in the same year the Marvel Expanded Universe celebrated its tenth anniversary with the release of its twentieth feature, "Ant-Man and the Wasp" (on the heels of "Black Panther" and "Avengers: Infinity War," no less), superhero maestro Stan Lee passed away at age 95. His death brings a new level of meaning to the aching loss that pervades the finale of "Infinity War," though Lee got the last laugh with his hilarious cameo in the "Ant-Man" sequel, which brought down the house at the preview screening I attended. In addition to reading Peter Sobczynski's tribute to Lee, make sure to read Roger Ebert's four-star review of the film that kicked off the MCU: Jon Favreau's "Iron Man."

Features

Thumbnails 11/2/18

The vitality of "The Hate U Give" and "Widows"; Identifying as a witch; Farewell Filmstruck; Revisiting "The Halloween Tree"; A disservice to Freddie Mercury.

Ebert Club

#179 August 6, 2013

Marie writes: Behold an ivy covered house in Düsseldorf, Germany and the power of plants to transform stone, brick and mortar into a hotel for millions of spiders. To view an amazing collection of such images and showcasing a variety of buildings from around the world, visit The Most Colorful Houses Engulfed in Vegetation at io9.com.

Ebert Club

#170 June 5, 2013

Marie writes: Behold a truly rare sight. London in 1924 in color. "The Open Road" was shot by an early British pioneer of film named Claude Friese-Greene and who made a series of travelogues using the colour process his father William (a noted cinematographer) had been experimenting with. The travelogues were taken between 1924 and 1926 on a motor journey between Land's End and John O'Groats. You can find more footage from The Open Road at The British Film Institute's YouTube channel for the film. You can also explore their Archives collection over here.

Ebert Club

#155 February 13, 2013

Marie writes: If I have a favorite festival, it's SXSW and which is actually a convergence of film, music and emerging technologies. However it's the festival's penchant for screening "quirky" Indie movies which really sets my heart pounding and in anticipation of seeing the next Wes Anderson or Charlie Kaufman. So from now until March, I'll be tracking down the best with the zeal of a Jack Russell terrier!  Especially since learning that Joss Whedon's modern B/W take on Shakespeare's "Much Ado About Nothing" is set to screen at SXSW 2013 in advance of its June 21st US release date; they'll cut an official trailer soon, rubbing hands together!

Ebert Club

#46 January 19, 2011

The Grand Poobah writes: Here's a behind the scenes lookinside our control room! This is where the magic happens.

Features

Public Edition #5

This is a special free sample of the Newsletter members receive weekly. It contains content gathered from several past issues and reflects the diversity of what you'll find inside the Ebert Club. For Roger's invitation to the Club, go HERE.

"There is a stubbornness about me that can never bear to be frightened at the will of others. My courage always rises with every attempt to intimidate me." - Jane Austen, Pride and Prejudice

Features

Public Edition #1

Edited by Marie Haws, Club SecretaryFrom Roger Ebert: Club members receive the complete weekly Newsletter. These are abridged and made public on the site three weeks later. To receive the new editions when they're published, annual dues are $5. Join here.From The Grand Poobah: Reader Steinbolt1 writes in: "Mark Mayerson has been putting together mosaics of all the scenes from specific Disney animated films, and is currently working through Dumbo. Each scene has the specific animator(s) who worked on the film listed above it. This is my favorite post on Dumbo, so far: Mayerson on Animation: Dumbo Part 5 "The only humans we've seen previously are in sequence 3. They are all white and wearing uniforms that clearly mark them as circus employees. When we get to this sequence, the only humans we see are black. As they are disembarking from a railroad car, we know that they are also employees, but they don't get uniforms. The roustabouts are the ones who do the heavy lifting, regardless of the weather. Why aren't the rest of the employees helping? I guess the work is beneath them. Let's not forget that the circus wintered in Florida, at the time a Jim Crow state." - Mark Mayerson; animator, writer, producer, director, Canadian.

Ebert Club

#31 October 6, 2010

Tony Curtis and Janet Leigh at a Charity party in 1957 with Frank Sinatra and his then-wife, Ava Gardner. (click to enlarge) Marie writes: the best celebrity photos are invariably candid shots. :-)

Ebert Club

#19 July 14, 2010

From The Grand Poobah: Reader Steinbolt1 writes in: "Mark Mayerson has been putting together mosaics of all the scenes from specific Disney animated films, and is currently working through Dumbo. Each scene has the specific animator(s) who worked on the film listed above it. This is my favorite post on Dumbo, so far:

Mayserson on Animation: Dumbo Part 5"The only humans we've seen previously are in sequence 3. They are all white and wearing uniforms that clearly mark them as circus employees. When we get to this sequence, the only humans we see are black. As they are disembarking from a railroad car, we know that they are also employees, but they don't get uniforms. The roustabouts are the ones who do the heavy lifting, regardless of the weather. Why aren't the rest of the employees helping? I guess the work is beneath them. Let's not forget that the circus wintered in Florida, at the time a Jim Crow state." - Mark Mayerson; an animator, writer, producer, director and Canadian. :-)

Roger Ebert

TIFF #6: Oy vey, such a film you should see

There is something about the Jewish way of humor and storytelling I've always found enormously appealing. I memorized material by Henny Youngman and Myron Cohen at an age when, to the best of my knowledge, I had never met a Jew. I liked the rhythm, the contradiction, the use of paradox, the anticlimax, the way word order would be adjusted to back up into a punch line. There seemed to be deep convictions about human nature hidden in gags and one-liners; a sort of rueful shrug. And the stories weren't so much about where they ended as how they got there.

The serious man is consoled by the friend who has stolen his wife