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Presents a collection of the critic's most positive film reviews of the last four decades, arranged alphabetically from "About Last Night" to "Zodiac."
The Pulitzer Prize–winning film critics offers up more reviews of horrible films. Roger Ebert awards at least two out of four stars to most of the more than 150 movies he reviews each year. But when the noted film critic does pan a movie, the result is a humorous, scathing critique far more entertaining than the movie itself. I Hated, Hated, Hated This Movie is a collection of more than 200 of Ebert’s most biting and entertaining reviews of films receiving a mere star or less from the only film critic to win the Pulitzer Prize. Ebert has no patience for these atrocious movies and minces no words in skewering the offenders. Witness: Armageddon * (1998)—The movie is an assault on the eyes, the ears, the brain, common sense, and the human desire to be entertained. No matter what they’re charging to get in, it’s worth more to get out. The Beverly Hillbillies * (1993)—Imagine the dumbest half-hour sitcom you’ve ever seen, spin it out to ninety-three minutes by making it even more thin and shallow, and you have this movie. It’s appalling. North no stars (1994)—I hated this movie. Hated hated hated hated hated this movie. Hated it. Hated every simpering stupid vacant audience-insulting moment of it. Hated the sensibility that thought anyone would like it. Hated the implied insult to the audience by its belief that anyone would be entertained by it. Police Academy no stars (1984)—It’s so bad, maybe you should pool your money and draw straws and send one of the guys off to rent it so that in the future, whenever you think you’re sitting through a bad comedy, he could shake his head, chuckle tolerantly, and explain that you don't know what bad is. Dear God * (1996)—Dear God is the kind of movie where you walk out repeating the title, but not with a smile. The movies reviewed within I Hated, Hated, Hated This Movie are motion pictures you’ll want to distance yourself from, but Roger Ebert’s creative and comical musings on those films make for a book no movie fan should miss.
More of the Pulitzer Prize–winning film critic’s most scathing reviews. A Horrible Experience of Unbearable Length collects more than 200 of his reviews from 2006 to 2012 in which he gave movies two stars or fewer. Known for his fair-minded and well-written film reviews, Roger is at his razor-sharp humorous best when skewering bad movies. Consider this opener for the one-star Your Highness: “Your Highness is a juvenile excrescence that feels like the work of 11-year-old boys in love with dungeons, dragons, warrior women, pot, boobs, and four-letter words. That this is the work of David Gordon Green beggars the imagination. One of its heroes wears the penis of a minotaur on a string around his neck. I hate it when that happens.” And finally, the inspiration for the title of this book, the one-star Transformers: Revenge of the Fallen: “Transformers: Revenge of the Fallen is a horrible experience of unbearable length, briefly punctuated by three or four amusing moments. One of these involves a doglike robot humping the leg of the heroine. If you want to save yourself the ticket price, go into the kitchen, cue up a male choir singing the music of hell, and get a kid to start banging pots and pans together. Then close your eyes and use your imagination.” Roger Ebert’s I Hated, Hated, Hated This Movie and Your Movie Sucks, which gathered some of his most scathing reviews, were bestsellers. This 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. Movie buffs and humor lovers alike will relish this treasury of movies so bad that you may just want to see them for a good laugh!
In this e-book exclusive, the Pulitzer Prize–winning film critic presents reviews of 33 films that showcase the power of the human spirit. Wondering if the world is really going to hell in a handbasket? Then consider Roger Ebert’s e-book original 33 Movies to Restore Your Faith in Humanity. Read Roger’s full-length reviews of movies and rekindle your belief in the human spirit. From the out-of-the-world experience of E.T. to the outer space drama of Apollo 13 to the personal insights into ordinary people in Cinema Paradiso and Everlasting Moments, you’ll be reassured that maybe there is hope for us all. Mix in historical dramas like The Bridge on the River Kwai and Gandhi, stories of personal heroism like Hotel Rwanda and Schindler's List, and the irresistible Up, and things will be looking, well, up!
Ahh, love. It can be a many splendored thing, but it can also lead to the pain of a broken heart. For those experiencing such a sad eventuality, turn to this e-book only selection of Ebert's Essentials, and consider these reviews of movies to help get you through the heartbreak. While not a cure for a broken heart (what could be?), watching these films can bring hope and appreciation for the possibility of love again or just help you laugh at the total absurdity of it all. Enjoy such classic romantic comedies as Moonstruck and Annie Hall to the decidedly offbeat Lars and the Real Girl that will help bring a smile back. Appreciate quiet looks into love with films like The Scent of Green Papaya and Once.
A collection of greatest film reviews from a critic who “understands how to pop the hood of a movie and tell us how it runs” (Steven Spielberg). Pulitzer Prize–winning film critic Roger Ebert wrote movie reviews for the Chicago Sun-Times for over forty years. His wide knowledge, keen judgment, and sharp sense of humor made him America’s most celebrated film critic—the only one to have a star dedicated to him on the Hollywood Walk of Fame. His hit TV show, At the Movies, made ‘‘two thumbs up’’ a coveted hallmark in the industry. From The Godfather to GoodFellas, from Cries and Whispers to Crash, the reviews in Awake in the Dark span some of the most exceptional periods in film history, from the dramatic rise of rebel Hollywood and the heyday of the auteur, to the triumph of blockbuster films such as Star Wars and Raiders of the Lost Ark, to the indie revolution. The extraordinary interviews included capture Ebert engaging with such influential directors as Martin Scorsese, Steven Spielberg, Woody Allen, Robert Altman, Werner Herzog, and Ingmar Bergman, as well respected actors as diverse as Robert Mitchum, James Stewart, Warren Beatty, and Meryl Streep. Also gathered here are some of his most admired esssays, among them a moving appreciation of John Cassavetes and a loving tribute to the virtues of black-and-white films. A treasure trove for film buffs, Awake in the Dark is a compulsively readable chronicle of film since the late 1960s. “[Ebert] has a keen understanding of the way [movies] work.” —Martin Scorsese “[Ebert’s] criticism shows a nearly unequalled grasp of film history and technique.” —A.O. Scott, New York Times
"Previous versions of these essays have appeared in the Chicago Sun-Times, 1997, 1999, 2006, and 2009-2013."
An expanded glossary of movie clichés from the Pulitzer Prize–winning film critic. The popular film critic offers a compilation of witty and wise observations about the film lexicon, including “Fruit Cart,” a chase scene through an ethnic or foreign locale, or “The Non-Answering Pet,” referring to a dead pet in a horror movie.
A collection of some of the Pulitzer Prize–winning film critic’s most scathing reviews, from Alex & Emma to the remake of Yours, Mine, and Ours. From Roger’s review of Deuce Bigalow: European Gigolo (0 stars): “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.” Roger Ebert’s I Hated Hated Hated This Movie, which gathered some of his most scathing reviews, was a bestseller. This 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.
With a critical eye that mirrors his subject's, Todd Rendleman explores the values, temperament, character, and style that have made Roger Ebert the most trusted and influential film critic in America. Introducing the one critic whom so many moviegoers recognize, argue with, and love, Rule of Thumb illuminates Ebert's critical strengths and blind spots. His sensibilities are further appreciated through comparisons to incisive, provocative colleagues like Pauline Kael and John Simon. While exploring their critical clashes, the author offers fresh assessments of a host of movies, from modern classics like Last Tango in Paris and Blue Velvet, to films that deserve another glance, like Music Box, In Dreams, and Bliss. Few are in a position to write a firsthand memoir of one of the world's great film critics, but Rendleman accomplishes just this, smartly intertwining his own coming-of-age cinematic sensibility with a witty critical analysis of his subject. All told, his achievement is noteworthy: he offers a unique view of a celebrated personality, while revealing himself as a writer of insight and dash.