5 Cult Classics That Roger Ebert Didn't Get

Here at Film Babble Blog, film critic Roger Ebert is a well respected legend with his wealth of writings referred to often. 

Even when I’ve disagreed with Ebert, his well thought out and cleverly crafted reviews still make powerful points. However, there a number of times that I’ve felt that Mr. Ebert tragically missed the point so here are:

The Top 5 Cult Classics That Roger Ebert Didn't Get:

1. HAROLD AND MAUDE (Dir. Hal Ashby, 1971) Can this be right? Can Ebert truly be among the out-of-it straight laced critics that horribly misjudged this undeniably influential beyond words cult classic? Yep, he only rewards a movie that many friends, collegues, and family have considered one of the best movies ever with one and a half stars. For shame.

2. FIGHT CLUB (Dir. Peter Fincher, 1999) Two stars. Roger loves the first couple of acts but hates the concluding act. This is from a guy who wouldn't know the Pixies if they were stuck on the same elevator. Whatever Ebert, watch it again and tell me how what is set up in the first third would work better done another way and you and me will be square. 

3. BEETLEJUICE 

(Dir. Tim Burton, 1988) 



Again 2 stars. Where's the love for Tim Burton's maniacal masterpiece? It’s times like this that you just have to remember this is the guy who gave COP AND A HALF and HOLLYWOOD HOMICIDE rave reviews.

4. HEATHERS (Dir. Michael Lehmann, 1989) Two and a half stars. I mean COME ON! This is a bonafide classic and Ebert's baffled review is painful to read. He writes "Is this a black comedy about murder or just a cynical morality play?" Jesus, Roger - if you have to ask... 

5. DON'T LOOK BACK 

(Dir. D.A. Pennebaker, 1967) 



Okay, so he gave this rock doc three stars, but don't let that fool you. He disses Bob Dylan to such a degree in his review that it's hard to take. I mean, read this sample: “What a jerk Bob Dylan was in 1965. What an immature, self-important, inflated, cruel, shallow little creature, lacking in empathy and contemptuous of anyone who was not himself or his lackey. Did we actually once take this twirp as our folk god?”

Can you believe that? Is Ebert, who wrote two separate reviews of this flick (first in '68 on the movie's original run and then again in '98 on its re-release) that out of touch? I thought it was pretty much accepted that Dylan was putting on those who were asking him square questions and having fun with the media juggernaut. I mean just a couple years before DON’T LOOK BACK was filmed (yes, I’m looking back) Newsweek wrongly accused him of plagiarizing his classic song “Blowing In The Wind,” and countless bandwagon jumpers had co-opted Bob's simple plaintive messages for their own cynical purposes. 

I can't imagine Dylan at that age and time reacting any other way, but to Ebert he's a self serving twirp. I can't quite process this judgement (or lack of). To Ebert's credit he nailed Bob's self indulgent MASKED AND ANONYMOUS monstrosity last year in a scathing review, but that doesn't make right his insulting remarks about one of the most influential film portraits of an artist at his prime in existence.

More later...

DVD Review: Tim Burton's BIG FISH

Now out on the popular DVD format: 

BIG FISH (Dir. Tim Burton, 2003)

While this movie is being touted in its trailers as “from the imagination of Tim Burton” it should be noted that it was adapted by screenwriter John August from the book by Chapel Hill native Daniel Wallace, and it was originally developed as a project by Steven Spielberg. 

Edward Bloom (Albert Finney) amuses everyone with his elaborate tall tales except for his son Will (Billy Crudup).

As his father is most certainly on his death bed, Crudup is struggling for some truth for once and attempts to sort out the reality from the fantasy.

Apart from the storybook fantasy sequences, one of the best things the movie has going for it is the casting of Ewan McGregor as the young Edward. Particularly effective because McGregor looks almost exactly like Finney did when he was younger. Take a look at TOM JONES (1963) if you don’t believe me.

What keeps this movie from truly being a classic is some of the hazy plot threads and the less than fully fleshed out characters. Poet Norther Winslow (Steve Buscemi) seems like he was created just for a reason for Buscemi to lend his punchy prescence, Helen Bonham Carter plays two underdeveloped roles which may be the same character - I'm not sure, and the choice of a unaffecting Pearl Jam song to end the proceedings with doesn't help either.

That said this is still a fine film and only persnickety film geeks like me would harp on such matters. The real emotion displayed here (especially in the last half hour) wins over even the most cynical critic, and I have a distinct feeling that time will be good to this elaborate tall tale. Danny Devito, Jessica Lange, and Robert Gulliaume round out the cast. 

Special Features: A disappointing commentary in which Burton is interviewed by some British guy who wrote a book on Burton (Burton On Burton) on top of the movie instead of a preferred straight Burton talking directly about the action on screen. Nevertheless it provides some insights, but the featurettes are pretty inessential and the trivia game is...well I didn't even check it out, I mean who puts a DVD in the player to play some damn trivia game?!!? I sure as Hell don't.

More later...