Roger Ebert's Movie Yearbook 2013: 25th Anniversary Edition

1359 Pages·2012·7.1 MB·English

by  Ebert

This book is dedicated to Robert Zonka, 1928–1985. God love ya.
Contents

Introduction

Acknowledgments

Key to Symbols

Reviews

The Best Films of 2011

The Best Documentaries of 2011

Interviews
Asghar Farhadi (A Separation)
Tilda Swinton (We Need to Talk About Kevin)
Quvenzhane Wallis (Beasts of the Southern Wild)

Ebert’s Journal
Sarah Palin Documentary
The Enigma of Political Prayer
A Shimmering Mirage
Knocked Up At the Movies
The Sudden Death of Film
Heteronormative Vampires
Dissecting Declining Box Office Revenue
Think of Me as the Butler, Carson
The Oscar Losers: They Wuz Robbed
Indie Spirit Awards Joined The Artist Bandwagon
Hey, Kids! Anybody Here Not Heard the F-Word?
The Raid and Why I Hated It
I Remember You
The Perfect Audience
Movies Don’t Stream Themselves
A Few Calm Words About The List
In Memoriam
Andrew Sarris

Film Festival
Toronto International Film Festival

Ebert’s Little Movie Glossary

Index
Introduction

The massacre at a premiere of The Dark Knight Rises in Aurora, Colorado,
brought a wave of speculation about whether movie violence inspires violent
behavior in moviegoers. I’d written a blog about our need for better gun control,
and it drew a lot of messages along those lines, suggesting I should put my own
house in order.
This yearbook is not the right place to go into gun control, but violence in
the movies is fair game. Does it inspire violence in society? The honest answer
is, I don’t know. But there I times I believe it has a sort of deadening effect on
young viewers who are exposed to a lot of it. I go to see virtually every new
release, and sometimes I despair. Many new films are nonstop violent action,
with mechanical dialogue and shallow characters. Essentially they offer only
kinetic action and bright colors. What thinking person can possibly care about
the plot of a Transformers movie?
In my years of professional movie going I’ve seen a relentless erosion of
storytelling standards in mainstream commercial movies. The idea of a well-
structured story is no longer a goal. Many successful movies consist essentially
of a perfunctory set-up and 80 or 90 minutes of spectacular special effects. Well-
made feature films used to embed the idea that causes had effects; that characters
should expect to reap the results of their decisions. Now we usually see
invulnerable heroes who destroy one threat after another in ways that make no
sense. They can jump from heights and not be injured. They can miraculously
avoid being struck by countless rounds from automatic weapons. They can drive
through city streets, leave carnage behind, and pay no consequences.
This can often be entertaining escapism, as in the Dark Knight movies,
Spider-Man II, and a Bond picture. More often, it is simply routine. Please
forgive me for employing one of the most over-used lines in Shakespeare:
Viewers are subjected to sound and fury, signifying nothing.
I don’t know if an exclusive diet of such movies can influence human
behavior. I do believe, however, that seeing good films are, at the end of the day,
likely to make you a more thoughtful and interesting person. I think there is such
a thing as “dumbing down,” and I think our mass media contribute to it.
One of the reasons for this may be that movie choices are often shaped by
the myopic and skewed MPAA Rating System. It’s obvious that the MPAA
takes a sterner look at sexuality than violence. Incredible violence can get a PG-13
seal of approval, but films, however thoughtful, that deal with human
relationships are more likely to be rated R. Children’s films, which are now
usually animated 3-D cartoons, often consist of little more than distracting fast
action. The loving craftsmanship of Disney classics or such more recent films as
Little Mermaid and The Lion King is much harder to find than inane adventures
like Kung Fu Panda and the Ice Age movies.
I believe there is such thing as a movie appropriate for adults, and that it
should be rated R or NC-17. During 2012, we had the rare experience of seeing a
film by an established director, with major stars in the leads, released with the
NC-17 rating. This was William Friedkin’s Killer Joe, starring Matthew
McConaughey. You can read my review of it in this book. I think NC-17 was the
correct rating and that a good many more R-rated movies deserve it. There are
also PG-13 movies that probably should be rated R.
I think, perhaps foolishly, that such a shift in the MPAA’s standards might
place more emphasis on storytelling and character and make a smaller opening
for movies that depend entirely on violence. I believe that younger viewers,
those in the PG-13 category, might benefit from less mindless action in their
formative years. The decay of standards in movies may be related to the decay of
standards in our society. I can’t prove it. But I fear it.
*
My sincere thanks to Dorothy O’Brien, who has been the book’s valued
editor at Andrews McMeel for many years. Also to Sue Roush, my editor at
Universal Uclick, and to Laura Emerick, Amanda Barrett, Linda Bergstrom,
Miriam Di Nunzio, Darel Jevens, Teresa Budasi, Thomas Conner, and all the
other heroes at the Chicago Sun-Times, and Jim Emerson and the Web staff at
rogerebert.com. Many others are thanked in the Acknowledgments.

ROGER EBERT
Acknowledgments

My editor is Dorothy O’Brien, tireless, cheerful, all-noticing. My friend and
longtime editor Donna Martin suggested the yearbook approach to the annual
volume. The design is by Cameron Poulter, the typographical genius of Hyde
Park.
My thanks to production editor Christi Clemons Hoffman, who renders
Cameron’s design into reality. John Yuelkenbeck at Alias Creative Group is the
compositor who has worked diligently on the series for years. I have been
blessed with the expert and discriminating editing of Laura Emerick, Miriam Di
Nunzio, Darel Jevins, Jeff Johnson, and Teresa Budasi at the Chicago Sun-
Times; Sue Roush at Universal Uclick; and Michelle Daniel and David Shaw at
Andrews McMeel Publishing. For much advice and counsel, thanks to Jim
Emerson and John Barry of www.rogerebert.com.
Many thanks are also due to Marsha Jordan at WLS-TV. My gratitude goes to
Carol Iwata, my expert personal assistant, and to Gregory Isaac, who is a
computer whiz and invaluable aide-de-camp. I must also thank those who have
given me countless observations and corrections, including Peter Debruge, Jana
J. Monji, and Troylene Ladner.
And special thanks and love to my wife, Chaz, who was always at my side
during a difficult illness, helped see three books through the press during that
time, and was a cheerleader for this one. I am so grateful to her as we once
again, relieved, enter a period of good health.

ROGER EBERT
Key to Symbols

A great film
A good film
Fair
Poor

G, PG, PG-13, R, NC-17: Ratings of the Motion Picture Association of

America

G Indicates that the movie is suitable for general audiences

PG Suitable for general audiences but parental guidance is suggested

Recommended for viewers 13 years or above; may contain material
PG-13
inappropriate for younger children

R Recommended for viewers 17 or older

NC-17 Intended for adults only

141 m. Running time

2010 Year of theatrical release
Reviews
A
Abraham Lincoln: Vampire Hunter
R, 105 m., 2012

Benjamin Walker (Abraham Lincoln), Dominic Cooper (Henry Sturgess), Anthony Mackie (Will Johnson),
Mary Elizabeth Winstead (Mary Todd Lincoln), Rufus Sewell (Adam), Marton Csokas (Jack Barts), Jimmi
Simpson (Joshua Speed), Erin Wasson (Vadoma). Directed by Timur Bekmambetov and produced by
Bekmambetov, Tim Burton, and Jim Lemley. Screenplay by Seth Grahame-Smith, based on his novel.

Abraham Lincoln: Vampire Hunter is without a doubt the best picture 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. It’s also a more
entertaining movie than I remotely expected. Yes, dear readers, I went expecting
to sneer.
The story opens with young Abe witnessing the murder of his mother by a
vampire. He swears an oath of vengeance, and some years later is lucky to be
getting drunk while standing at a bar next to Henry Sturgess (Dominic Cooper),
who coaches him on vampire killing and explains that it is a high calling,
requiring great dedication and no distractions like marriage.
There’s an early scene in which Lincoln tries to shoot a vampire, but that
won’t work because they’re already dead. Then whatever can he do? “Well,” he
tells Henry, “I used to be pretty good at rail-splitting.” This line drew only a few
chuckles from the audience because the movie cautiously avoids any attempt to
seem funny.
Lincoln’s weapon of choice becomes an ax with a silver blade, which he
learns to spin like a baton twirler. That he carries this ax with him much of the
time may strike some as peculiar. I was reminded uncannily of Buford Pusser,
walking tall and carrying a big stick.
Against advice, Lincoln (Benjamin Walker) marries Mary Todd (Mary
Elizabeth Winstead), and the story moves quickly to his days in the White
House, where he discovers that the vampires are fighting on the side of the
South. This seems odd, since they should be equal opportunity bloodsuckers, but
there you have it. Still with him is childhood friend Will Johnson (Anthony
Mackie), a free black man whose mistreatment helped form Lincoln’s hatred of
slavery. Also still at his side is Joshua Speed (Jimmi Simpson), who hired