Login
Films that Roger Ebert didn't like that I did :3
Sort by:
Showing 1-50 of 61
Decade:
Rating:
List Type:
1086
8
7.9
Harold and Maude (1971)
Ebert's Rating: 1.5 out of 4
Ebert's Review:
Death can be as funny as most things in life, I suppose, but not the way Harold and Maude go about it. They meet because they're both funeral freaks, and one day their eyes lock over a grave. They fall into conversation after Maude steals Harold's hearse and offers him a ride. Harold drives a hearse, by the way, because he is fascinated by death, particularly his own. So fascinated that maybe the only reason he doesn't kill himself is that suicide would put an end to his suicide fantasies. You can see that Harold is a young man with a problem.
Now Maude, on the other hand, is seventy-nine years young, and has what is known in the trade as a lust for life. She lives in a railroad car, spends her afternoons uprooting city trees and returning them to the forest, and in general is an all-round booster of the life force. She goes to funerals because there is a time to live and a time to die, and she wants to be on time.
The word has gotten out that "Harold and Maude" is the story of a love affair between these two people. It is not, so necrophiliacs please stay cool. It is about how Harold annoys (yes, annoys would be the word) his mother by staging a staggering variety of suicide attempts. Let's see. There's immolation, hanging, whacking off his arm with a meat cleaver, driving his car over a cliff, drowning, and if I missed one, never mind. But his mother is merely annoyed. She takes a morning dip in the swimming pool, for example, and when she comes upon Harold's body floating face down, she merely swims another lap. Talk about exercise freaks.
Harold's mother figures maybe what Harold needs is a little female companionship. She signs him up with a computer dating service, but the girls are sort of put off when he sets himself afire on their date, and things like that. Maude, on the other hand, doesn't seem to mind. As played by Ruth Gordon, she is the same wise-cracking operator out of the side of the mouth that we met in "Rosemary's Baby." When a traffic cop stops her for being in possession of a stolen truck, a stolen car, and a stolen shovel, she apologizes and then drives away. When he catches up with her again, she steals his motorcycle. You see what an indomitable sort she is.
Harold is played by Bud Cort, the round-eyed and solemn-mouthed announcer over the PA system in "M*A*S*H." He is even rounder and more solemn this time, having perfected a funereal droop of the lower lip. It is hard to get very much animation into a character who is obsessed with his own oblivion, but Cort doesn't even try.
And so what we get, finally, is a movie of attitudes. Harold is death, Maude life, and they manage to make the two seem so similar that life's hardly worth the extra bother. The visual style makes everyone look fresh from the Wax Museum, and all the movie lacks is a lot of day-old gardenias and lilies and roses in the lobby, filling the place with a cloying sweet smell. Nothing more to report today. Harold doesn't even make pallbearer.
Ebert's Review:
Death can be as funny as most things in life, I suppose, but not the way Harold and Maude go about it. They meet because they're both funeral freaks, and one day their eyes lock over a grave. They fall into conversation after Maude steals Harold's hearse and offers him a ride. Harold drives a hearse, by the way, because he is fascinated by death, particularly his own. So fascinated that maybe the only reason he doesn't kill himself is that suicide would put an end to his suicide fantasies. You can see that Harold is a young man with a problem.
Now Maude, on the other hand, is seventy-nine years young, and has what is known in the trade as a lust for life. She lives in a railroad car, spends her afternoons uprooting city trees and returning them to the forest, and in general is an all-round booster of the life force. She goes to funerals because there is a time to live and a time to die, and she wants to be on time.
The word has gotten out that "Harold and Maude" is the story of a love affair between these two people. It is not, so necrophiliacs please stay cool. It is about how Harold annoys (yes, annoys would be the word) his mother by staging a staggering variety of suicide attempts. Let's see. There's immolation, hanging, whacking off his arm with a meat cleaver, driving his car over a cliff, drowning, and if I missed one, never mind. But his mother is merely annoyed. She takes a morning dip in the swimming pool, for example, and when she comes upon Harold's body floating face down, she merely swims another lap. Talk about exercise freaks.
Harold's mother figures maybe what Harold needs is a little female companionship. She signs him up with a computer dating service, but the girls are sort of put off when he sets himself afire on their date, and things like that. Maude, on the other hand, doesn't seem to mind. As played by Ruth Gordon, she is the same wise-cracking operator out of the side of the mouth that we met in "Rosemary's Baby." When a traffic cop stops her for being in possession of a stolen truck, a stolen car, and a stolen shovel, she apologizes and then drives away. When he catches up with her again, she steals his motorcycle. You see what an indomitable sort she is.
Harold is played by Bud Cort, the round-eyed and solemn-mouthed announcer over the PA system in "M*A*S*H." He is even rounder and more solemn this time, having perfected a funereal droop of the lower lip. It is hard to get very much animation into a character who is obsessed with his own oblivion, but Cort doesn't even try.
And so what we get, finally, is a movie of attitudes. Harold is death, Maude life, and they manage to make the two seem so similar that life's hardly worth the extra bother. The visual style makes everyone look fresh from the Wax Museum, and all the movie lacks is a lot of day-old gardenias and lilies and roses in the lobby, filling the place with a cloying sweet smell. Nothing more to report today. Harold doesn't even make pallbearer.
SwornShadow's rating:
4304
7.8
8.2
Ebert's Rating: 2 out of 4 stars
Ebert's Review:
The idea has a certain allure to it: A cop is trapped inside a high-rise with a team of desperate terrorists. He is all that stands between them and their hostages. Give the terrorist leader brains and a personality, make one of the hostages the estranged wife of the cop and you've got a movie.
The name of the movie is "Die Hard," and it stars Bruce Willis in another one of those Hollywood action roles where the hero's shirt is ripped off in the first reel so you can see how much time he has been spending at the gym. He's a New York cop who has flown out to Los Angeles for Christmas, and we quickly learn that his marriage was put on hold after his wife (Bonnie Bedelia) left for the Coast to accept a great job offer. She is now a vice president of the multinational Nakatomi Corp., and shortly after Willis makes his surprise entrance at her office party, the terrorists strike.
They, too, are a multinational group, led by a German named Hans Gruber (Alan Rickman) who is well-dressed and has a neatly trimmed beard and talks like an intellectual and thinks he is superior to the riffraff he has to associate with. He has a plan that has been devised with clockwork precision involving the theft of millions of dollars in negotiable bonds, and it is only after Willis starts causing trouble that he is forced to take the Nakatomi employees as hostages.
The terrorists are skilled and well-armed, and there are a lot of them. Willis' strategy involves keeping them off guard with lightning attacks from his hiding place on an upper floor of the building that is still under construction. This plan involves the deployment of a great many stunts and special effects, such as when Willis swings through a plate glass window on the end of a fire rope or when he drops plastics explosives down the elevator shaft.
On a technical level, there's a lot to be said for "Die Hard." It's when we get to some of the unnecessary adornments of the script that the movie shoots itself in the foot. Willis remains in constant radio contact with a police officer on the ground (Reginald Veljohnson) who tries to keep his morale up. But then the filmmakers introduce a gratuitous and unnecessary additional character: the deputy police chief (Paul Gleason), who doubts that the guy on the other end of the radio is really a New York cop at all.
As nearly as I can tell, the deputy chief is in the movie for only one purpose: to be consistently wrong at every step of the way and to provide a phony counterpoint to Willis' progress. The character is so willfully useless, so dumb, so much a product of the Idiot Plot Syndrome, that all by himself he successfully undermines the last half of the movie. Thrillers like this need to be well-oiled machines, with not a single wasted moment. Inappropriate and wrongheaded interruptions reveal the fragile nature of the plot and prevent it from working.
Without the deputy chief and all that he represents, "Die Hard" would have been a more than passable thriller. With him, it's a mess, and that's a shame, because the film does contain superior special effects, impressive stunt work and good performances, especially by Rickman as the terrorist. Here's a suggestion for thrillermakers: You can't go wrong if all of the characters in your movie are at least as intelligent as most of the characters in your audience.
Ebert's Review:
The idea has a certain allure to it: A cop is trapped inside a high-rise with a team of desperate terrorists. He is all that stands between them and their hostages. Give the terrorist leader brains and a personality, make one of the hostages the estranged wife of the cop and you've got a movie.
The name of the movie is "Die Hard," and it stars Bruce Willis in another one of those Hollywood action roles where the hero's shirt is ripped off in the first reel so you can see how much time he has been spending at the gym. He's a New York cop who has flown out to Los Angeles for Christmas, and we quickly learn that his marriage was put on hold after his wife (Bonnie Bedelia) left for the Coast to accept a great job offer. She is now a vice president of the multinational Nakatomi Corp., and shortly after Willis makes his surprise entrance at her office party, the terrorists strike.
They, too, are a multinational group, led by a German named Hans Gruber (Alan Rickman) who is well-dressed and has a neatly trimmed beard and talks like an intellectual and thinks he is superior to the riffraff he has to associate with. He has a plan that has been devised with clockwork precision involving the theft of millions of dollars in negotiable bonds, and it is only after Willis starts causing trouble that he is forced to take the Nakatomi employees as hostages.
The terrorists are skilled and well-armed, and there are a lot of them. Willis' strategy involves keeping them off guard with lightning attacks from his hiding place on an upper floor of the building that is still under construction. This plan involves the deployment of a great many stunts and special effects, such as when Willis swings through a plate glass window on the end of a fire rope or when he drops plastics explosives down the elevator shaft.
On a technical level, there's a lot to be said for "Die Hard." It's when we get to some of the unnecessary adornments of the script that the movie shoots itself in the foot. Willis remains in constant radio contact with a police officer on the ground (Reginald Veljohnson) who tries to keep his morale up. But then the filmmakers introduce a gratuitous and unnecessary additional character: the deputy police chief (Paul Gleason), who doubts that the guy on the other end of the radio is really a New York cop at all.
As nearly as I can tell, the deputy chief is in the movie for only one purpose: to be consistently wrong at every step of the way and to provide a phony counterpoint to Willis' progress. The character is so willfully useless, so dumb, so much a product of the Idiot Plot Syndrome, that all by himself he successfully undermines the last half of the movie. Thrillers like this need to be well-oiled machines, with not a single wasted moment. Inappropriate and wrongheaded interruptions reveal the fragile nature of the plot and prevent it from working.
Without the deputy chief and all that he represents, "Die Hard" would have been a more than passable thriller. With him, it's a mess, and that's a shame, because the film does contain superior special effects, impressive stunt work and good performances, especially by Rickman as the terrorist. Here's a suggestion for thrillermakers: You can't go wrong if all of the characters in your movie are at least as intelligent as most of the characters in your audience.
SwornShadow's rating:
9305
8.3
8.8
Fight Club (1999)
Ebert's Rating: 2 out of 4 stars
Ebert's Review:
Ebert's Review:
SwornShadow's rating:
6255
8.2
8.3
A Clockwork Orange (1971)
Ebert's Rating: 2 out of 4 stars
Ebert's Review:
Ebert's Review:
SwornShadow's rating:
3198
7.5
7.5
Ebert's Rating: 1 out of 4 stars
Ebert's Review:
Ebert's Review:
SwornShadow's rating:
3273
5.9
6.4
Honey, I Shrunk the Kids (1989)
Ebert's Rating: 2 out of 4 stars
Ebert's Review:
Ebert's Review:
SwornShadow's rating:
1680
7.3
7.4
Ebert's Rating: 2 out of 4 stars
This I can understand why Roger Ebert would give Army of Darkness this rating. If someone was just coming into the story they would be a little lost. Also this installment is different from the first two in several different ways. The added slapstick might turn fans away however as for me I love it I thought this film was dark, funny, and the character change for Ash actually grew on me in a strange way.
This I can understand why Roger Ebert would give Army of Darkness this rating. If someone was just coming into the story they would be a little lost. Also this installment is different from the first two in several different ways. The added slapstick might turn fans away however as for me I love it I thought this film was dark, funny, and the character change for Ash actually grew on me in a strange way.
SwornShadow's rating:
8582
7.7
7.9
Edward Scissorhands (1990)
My two cents: To me Edward Scissorhands is the tale of an outsider a theme that Tim Burton knows very well. It's a love story done differently from the norm and it just has this charm to it that I don't see in films today. I always manage to get teary during: "Hold me. . . . I . . can't" and when the theme plays that really hits me where I live. I thought it was great as a kid and I think it holds up very well as an adult today. I highly recommend it.
Ebert's Rating: 2 out of 4 stars
Roger Ebert's take: The director Tim Burton wages a valiant battle to show us new and wonderful things. In a Hollywood that placidly recycles the same old images, Burton uses special effects and visual tricks to create sights that have never been seen before. That is the good news. The disappointment is that Burton has not yet found the storytelling and character-building strength to go along with his pictorial flair.
This conclusion is so lame it's disheartening. Surely anyone clever enough to dream up Edward Scissorhands should be swift enough to think of a payoff that involves our imagination.
Ebert's Rating: 2 out of 4 stars
Roger Ebert's take: The director Tim Burton wages a valiant battle to show us new and wonderful things. In a Hollywood that placidly recycles the same old images, Burton uses special effects and visual tricks to create sights that have never been seen before. That is the good news. The disappointment is that Burton has not yet found the storytelling and character-building strength to go along with his pictorial flair.
This conclusion is so lame it's disheartening. Surely anyone clever enough to dream up Edward Scissorhands should be swift enough to think of a payoff that involves our imagination.
SwornShadow's rating:
885
6.5
6.6
Ebert's Rating: 1.5 out of 4 stars
SwornShadow's rating:
1936
7.4
7.5
The Texas Chainsaw Massacre (1974)
Ebert's Rating: 2 out of 4 stars
SwornShadow's rating:
243
5.4
5.5
Ebert's Rating: 2 out of 4 stars
SwornShadow's rating:
2900
5.7
6.2
Austin Powers in Goldmember (2002)
Ebert's Rating: 2 out of 4 stars
SwornShadow's rating:
Load more items (11 more in this list)
Whether you agree with Roger Ebert or not you can't argue that he is a very powerful voice in the world of cinema but that doesn't mean you can't disagree with him. Every single person is different and everyone has an opinion to share and that's why I'm making this list. These are the films that Roger Ebert didn't like but I actually did. Also these quotes are taken from his website "rogerebert.suntimes.com/" basically since he ranks films on a scale of zero to four stars any film that is two stars or less is one I'm counting as him not liking. So I hope you enjoy this list with my personal opinion and a look into the opinions of America's greatest film critic. P.S. Don't worry in the near future I will be doing a list of films Roger Ebert likes but I didn't :D
Added to
RSS FeedPeople who voted for this also voted for
Lights, Camera, Live-Action: The 5 Anime Adaptatio
My Favorite 007's in Order
Favorite Characters from LOST
My favorite finnish movies
lovable movie titles
Some of The Greats
Films of 2009 - Best to worst
Dries Van Noten
Beige Gowns
Summer 2013 TV Picks
Listal SciFi: Personal Movie Favourite Lists
William Hurt collection
Bad Alice's Alphabet of Horror Vol. A
Awesomely Awful
Animation Lists
Voting Lists Im Following :D
SwornShadow's Pics from the Net
Cult Flics People need to see :D
Underrated/Forgotten Animated Films
Films I've seen in 2011
Greatest Films from 1994
Best Picture Winners 2012 Listal Community
