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Horny Teenager Movie: Any film primarily concerned with teenage sexual hungers, usually male. Replaced, to a degree, by Dead Teenager Movies q. Idiot Plot: Any plot containing problems that would be solved instantly if all of the characters were not idiots. Impregnable Fortress Impregnated: Indispensable scene in all James Bond movies and many other action pictures, especially war films. The IPI sequence begins early in the picture, with long shots of a faraway fortress and Wagnerian music on the sound track.

Eventually the hero gains entry to the fortress, which is inevitably manned by technological clones in designer uniforms.

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Sequence ends with destruction of fortress, as clones futilely attempt to save their marvelous machines. Mad Slasher Movies: Movies starring a mad-dog killer who runs amok, slashing all of the other characters. Seeing-Eye Man: Function performed by most men in Hollywood feature films.

Involves a series of shots in which 1 the man sees something, 2 he points it out to the woman, and 3 she then sees it, too, often nodding in agreement, gratitude, amusement or relief. Semi-Obligatory Lyrical Interlude Semi-OLI : Scene in which soft focus and slow motion are used while a would-be hit song is performed on the sound track and the lovers run through a pastoral setting: Common from the mids to the mids; replaced in s with the Semi-Obligatory Music Video q. Grohnde-Kirchohsen wind farm in Lower Saxony. The way Ebert tells it, he imagined a career as a columnist, something along the lines of being a Mike Royko, the Pulitzer Prize-winning Chicago Tribune columnist who covered the city's political scene.

A good critic: film critic roger Ebert made himself his own life project. Ebert was a combat rescue swimmer with a helicopter search and rescue squadron. Fishing fanatic. I make sure that Roger is incorporated into the festival," now in its 18th year, Chaz Ebert says. Conjuring a Bright Spirit Roger Ebert's widow, Chaz, ensures his imprint remains on the festival he founded.

In regards to auteurist approaches, Ebert forged a via media between the extremes of Sarris and Kael. Ebert had been under the impression that they would be donated to the Smithsonian. On July 21, , Roeper announced that he was leaving the show after he and Disney-ABC Domestic Television did not reach an agreement on a new contract. Both Ebert and Roeper hinted at returning for a possible new show that would continue the traditional format devised by Ebert and Siskel. The intention was that Lyons and Mankiewicz would take the show in a new direction, hoping to widen the viewership and appeal to younger audiences as well.

The show generally maintained the same format as before, with one of the two critics presenting a film, leading to a discussion of its merits. For some films, the show used a new "Critics Roundup" segment see below.

Rule of Thumb: Ebert at the Movies by Todd Rendleman, Paperback | Barnes & Noble®

In addition, instead of the traditional "The balcony is closed" sign-off, one of the hosts said, "We'll be at the movies," which echoed the "We'll see you at the movies" sign-off from the first seven seasons of Sneak Previews and the Tribune Entertainment-produced At the Movies. The show also featured a new upbeat theme arrangement and brighter color scheme. An attempt to liven up film clips during reviews by filling clip letterboxes with coloring was quickly discontinued after the first two episodes due to viewer complaints. During Lyons' tenure on At the Movies , he received criticism for his perceived lack of understanding of films and film history and use of positively phrased quotes sound bites that appeared tailored for use on movie advertisements and increasing his media profile , [14] and for conflicts of interest in posing for photographs with actors whose movies he later reviewed.

Ebert later acknowledged that Lyons was indeed the subject of the commentary. Scott and Michael Phillips returning to the series as the program's new permanent critics. After rerunning the "Two Bens'" final programs for two weeks, the first program with Scott and Phillips premiered on September 5—6, The recap segment moved to within the closing credits sequence; however, the "we'll be at the movies" sign-off remained. On March 24, , Disney announced that At the Movies was being canceled, ending 24 seasons of national syndication on August 14—15, For a time, negative Ebert reviews still received no thumb but later began receiving a thumbs-down.

The last show of that program aired on December 30, The hosts reviewed a number of recently released and soon-to-be-released movies per episode, taking turns providing a narrative critique interspersed with studio-supplied clips, moving into a back-and-forth debate over the merits. Siskel and Ebert were especially known for sharp criticism that veered close to personally attacking each other, although they insisted this was largely a television act rather than a feud. The show also recommended films coming on the home video market, including comments on DVD special features.

Reviews from the week's show were posted on the website, atthemoviestv.


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The site's archives had reviews as far back as the latter half of the s. However, only the reviews for theatrical movies got posted on the web site; the weekly DVD feature and "3 to See" segments did not. This system departed from the longstanding tradition of ratings with a number of stars or other symbols.

In Honor of Roger Ebert

As the show became more influential, studios would proudly advertise when their movie got "two thumbs up". In response, the phrase was trademarked in to ensure against fraudulent use that would endanger its credibility. Following the death of Gene Siskel, Disney considered not permitting guest critics to use the "thumb" rating in their movie review. On August 20, , Disney pulled the thumbs system from the program during contractual negotiations with Ebert over his involvement with the program.

Disney stated that Ebert forced the program to do so. He says he had not expected this after an association of over 22 years: "I had made it clear the THUMBS could remain during good-faith negotiations. Upon being informed in mid of the most recent change in co-hosts to Scott and Phillips, Ebert indicated to Phillips that he would be prepared to return his endorsement and the "Thumbs" system to the series. However, Disney turned down the offer, saying that the show had "moved on". On the show airing the weekend of May 24, , the hosts began using the terms "See It" [green] and "Skip It" [red] which appeared in on-screen graphics when summarizing their reviews.

From to , the show experimented with a "Wagging Finger of Shame" feature, denoting films that were not made available for a standard advance screening and therefore could not be given either a "thumbs up" or "thumbs down". Failure to prescreen a film for reviewers is generally considered an indicator of low confidence by the distributor, apparently believing that negative reviews would harm opening-weekend box office sales.

Rule of Thumb: Ebert at the Movies

This public rebuke was discontinued when Ebert decided the studios were not taking it seriously. Roeper asserted that too many films eleven in by April, compared to two by that date in were being withheld from critics. The votes of the whole panel were then tallied to provide the show's recommendation.

"Top Ten Films of 1979" special - movie reviews - Sneak Previews with Roger Ebert and Gene Siskel

Occasionally, special shows were produced that focus on particular aspects of film or home video. The show gives the hosts a convenient soapbox to feature their opinions on such issues as film colorization , letterboxing , the MPAA film rating system , product placement , independent filmmaking , and social issues. For instance, one episode, called "Hail, Hail Black and White", was shot in black and white with the pair in tuxedos as part of their focus on the virtues of black and white film.

Regular episodes sometimes devoted a few minutes for the hosts to give their opinions of a current issue related to the motion picture industry or to pay tribute to something. Also, at the end of every year, the two hosts would run down their choices of the top ten films from that year, followed the week later by their rundown of what they consider the ten worst studio releases from that year. As a critic, Siskel's first top ten list was in ; Ebert's had debuted in Over the life of their partnership, these were the two critics' 1 selections: [32]. In , Ebert declined to rank the Holocaust documentary Shoah as 's best film only because he felt it was inappropriate to compare it to the rest of the year's candidates.

While Apocalypse Now appeared as Ebert's choice for best film of but not anywhere on Siskel's list, the documentary of the making of the film, Hearts of Darkness , was Siskel's choice for best film of while not appearing on Ebert's list. In addition, neither critic's choice for best film of Last Temptation of Christ for Siskel and Mississippi Burning for Ebert appeared anywhere on the other critic's list, but both starred Willem Dafoe.

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Movie review television program. This article is about the — film review series. Scott — April 13, The New York Times.

Retrieved May 5, Chicago Sun-Times. July 21, Archived from the original on July 22, United States Patent and Trademark Office.