Roger Ebert Quotes About Film

Quotes about: Film

• Every great film should seem new every time you see it.

  Roger Ebert

  Movie, Gambling, Film

  Biography/Personal Quotes, www.imdb.com.

• It's not what a movie is about, it's how it is about it.

  Roger Ebert

  Film

• If you pay attention to the movies they will tell you what people desire and fear. Movies are hardly ever about what they seem to be about. Look at a movie that a lot of people love, and you will find something profound, no matter how silly the film may be.

  Roger Ebert

  Silly, People, Profound

  Roger Ebert (2012). “Awake in the Dark: The Best of Roger Ebert”, p.388, University of Chicago Press

• Going to see Godzilla at the Palais of the Cannes Film Festival is like attending a satanic ritual in St. Peter's Basilica.

  Roger Ebert

  Cannes Film Festival, Satanic, Festivals

  Roger Ebert (2013). “I Hated, Hated, Hated This Movie”, p.145, Andrews McMeel Publishing

• A film like Hoop Dreams is what the movies are for. It takes us, shakes us, and makes us think in new ways about the world around us. It gives us the impression of having touched life itself.

  Roger Ebert

  Dream, Thinking, Giving

  Roger Ebert (2012). “Awake in the Dark: The Best of Roger Ebert”, p.184, University of Chicago Press

• Sometimes miraculous films come into being, made by people you've never heard of, starring unknown faces, blindsiding you with creative genius.

  Roger Ebert

  People, Creative, Genius

• Jacques Tati is the great philosophical tinkerer of comedy, taking meticulous care to arrange his films so that they unfold in a series of revelations and effortless delights.

  Roger Ebert

  Philosophical, Delight, Care

  Roger Ebert (2008). “The Great Movies II”, p.278, Crown Archetype

• Pearl Harbor is a two-hour movie squeezed into three hours, about how on December 7, 1941, the Japanese staged a surprise attack on an American love triangle. Its centerpiece is 40 minutes of redundant special effects, surrounded by a love story of stunning banality. The film has been directed without grace, vision, or originality, and although you may walk out quoting lines of dialog, it will not be because you admire them.

  Roger Ebert

  Two, Grace, Vision

  "Pearl Harbor" by Roger Ebert, www.rogerebert.com. May 25, 2001.

• 'Abraham Lincoln: Vampire Hunter' is without a doubt the best film we are ever likely to see on the subject - unless there is a sequel, which is unlikely, because at the end, the Lincolns are on their way to the theater.

  Roger Ebert

  Doubt, Vampire, Hunters

  Roger Ebert (2012). “Roger Ebert's Movie Yearbook 2013: 25th Anniversary Edition”, p.1, Andrews McMeel Publishing

• Horror fans are a particular breed. They analyze films with such detail and expertise that I am reminded of the Canadian literary critic Northrup Frye, who approached literature with similar archetypal analysis.

  Roger Ebert

  Fans, Details, Analysis

• One sign of a great actor is when he can be alone by himself on the screen, doing almost nothing, and producing one of a film's defining moments.

  Roger Ebert

  Actors, Defining Moments, Film

  Roger Ebert (2016). “The Great Movies IV”, p.81, University of Chicago Press

• Samurai films, like westerns, need not be familiar genre stories. They can expand to contain stories of ethical challenges and human tragedy.

  Roger Ebert

  Challenges, Tragedy, Needs

  Roger Ebert (2016). “The Great Movies IV”, p.90, University of Chicago Press

• Films to the degree that they glorify mindlessness and short attention span they are bad, to the degree that they encourage empathy with people not like ourselves and encourage us to think about life, they are good.

  Roger Ebert

  Thinking, People, Empathy

• The film argues to the young that the old were young once, too, and contain within them all that the young know, and more.

  Roger Ebert

  Arguing, Film, Young

  Roger Ebert (2008). “The Great Movies II”, p.258, Crown Archetype

• I'll tell you, I think that the Internet has provided an enormous boost to film criticism by giving people an opportunity to self publish or to find sites that are friendly.

  Roger Ebert

  Opportunity, Thinking, Self

  Interview With Chris Neumer, www.stumpedmagazine.com.

• Matthew McConaughey and Kate Hudson star. I neglected to mention that, maybe because I was trying to place them in this review's version of the Witness Protection Program. If I were taken off the movie beat and assigned to cover the interior design of bowling alleys, I would have some idea of how they must have felt as they made this film.

  Roger Ebert

  Stars, Taken, Ideas

  Roger Ebert (2009). “Your Movie Sucks”, p.141, Andrews McMeel Publishing

• Films like Fargo are why I love the movies.

  Roger Ebert

  Fargo, Film

  Roger Ebert (2012). “Awake in the Dark: The Best of Roger Ebert”, p.193, University of Chicago Press

• Grave of the Fireflies is an emotional experience so powerful that it forces a rethinking of animation... It belongs on any list of the greatest war films ever made.

  Roger Ebert

  Powerful, War, Firefly

  "Sentai Filmworks Bringing 'grave Of The Fireflies' Back To DVD" by Charles Webb, www.mtv.com. December 2, 2011.

• Much has been written about Generation X and the films about it. Clerks is so utterly authentic that its heroes have never heard of their generation. When they think of "X," it's on the way to the video store.

  Roger Ebert

  Hero, Thinking, Clerks

  Roger Ebert (1996). “Roger Ebert's Video Companion, 1997 Edition”, Andrews McMeel Pub

• When I had been a film critic for ten minutes, I treated Doris Day as a target for cheap shots. I have learned enough to say today that the woman was remarkably gifted.

  Roger Ebert

  Film Critics, Target, Today

• A film is a terrible thing to waste.

  Roger Ebert

  Waste, Film, Terrible

  Roger Ebert's review of "A Glimpse Inside the Mind of Charles Swan III", www.rogerebert.com. February 12, 2013.

• To call it an anticlimax would be an insult not only to climaxes but to prefixes. It's a crummy secret, about one step up the ladder of narrative originality from It Was All a Dream. It's so witless, in fact, that when we do discover the secret, we want to rewind the film so we don't know the secret anymore. And then keep on rewinding, and rewinding, until we're back at the beginning, and can get up from our seats and walk backward out of the theater and go down the up escalator and watch the money spring from the cash register into our pockets.

  Roger Ebert

  Dream, Spring, Secret

  Roger Ebert (2005). “Roger Ebert's Movie Yearbook 2006”, p.734, Andrews McMeel Publishing

• Class is often invisible in America in the movies, and usually not the subject of the film.

  Roger Ebert

  Class, America, Film

  Interview with Matthew Rothschild, progressive.org. August 1, 2003.

• Many really good films allow us to empathize with other lives.

  Roger Ebert

  Film, Good Films

• Here is a children's film made for the world we should live in, rather than the one we occupy. A film with no villains. No fight scenes. No evil adults. No fighting between the two kids. No scary monsters. No darkness before the dawn. A world that is benign. A world where if you meet a strange towering creature in the forest, you curl up on its tummy and have a nap.

  Roger Ebert

  Children, Kids, Fighting

  "My Neighbor Totoro Movie Review" by Roger Ebert, www.rogerebert.com. December 23, 2001.

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