By Roger Ebert
Roger Ebert awards not less than out of 4 stars to lots of the greater than one hundred fifty videos he experiences every year. but if the famous movie critic does pan a film, the result's a funny, scathing critique way more exciting than the motion picture itself.
I Hated, Hated, Hated This motion picture is a set of greater than 2 hundred of Ebert's so much biting and pleasing reports of movies receiving a trifling big name or much less from the one movie critic to win the Pulitzer Prize. Ebert has no persistence for those atrocious video clips and minces no phrases in skewering the offenders.
Witness: Armageddon * (1998) --The motion picture is an attack at the eyes, the ears, the mind, logic, and the human wish to be entertained. it doesn't matter what they're charging to get in, it's worthy extra to get out.
The Beverly Hillbillies* (1993)--Imagine the dumbest 30 minutes sitcom you've ever noticeable, spin it out to ninety-three mins via making it much more skinny and shallow, and you have got this motion picture. It's appalling.
North no stars (1994)--I hated this motion picture. Hated hated hated hated hated this motion picture. Hated it. Hated each simpering silly vacant audience-insulting second of it. Hated the sensibility that proposal a person would favor it. Hated the implied insult to the viewers by means of its trust that anybody will be entertained by means of it.
Police Academy no stars (1984)--It's so undesirable, perhaps you'll want to pool your cash and draw straws and ship one of many men off to hire it in order that sooner or later, everytime you imagine you're sitting via a foul comedy, he may perhaps shake his head, giggle tolerantly, and clarify that you simply don't comprehend what undesirable is.
Dear God * (1996)--Dear God is the type of motion picture the place you stroll out repeating the identify, yet no longer with a smile.
The video clips reviewed inside of I Hated, Hated, Hated This motion picture are movies you'll are looking to distance your self from, yet Roger Ebert's artistic and comical musings on these movies make for a e-book no motion picture fan may still leave out.
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Extra resources for I Hated, Hated, Hated This Movie
The major way we experience – or imagine we experience – the past on the screen is obviously through our eye. We see bodies, faces, landscapes, buildings, animals, tools, implements, weapons, clothing, furniture, all the material objects that belong to a culture at a given historical period, objects that are used and misused, ignored and cherished, objects that sometimes can help to define livelihoods, identities, and destinies. Such objects, which the camera demands in order to make a scene look ‘real’, and which written history can easily, and usually does, ignore, are part of the texture and the factuality of the world on film.
And film, why that’s just entertainment, a diversion from the serious business of life, one of the places we go in an attempt to escape the sorts of social and political problems which fill the pages of our newspapers and those same history books. Sure, films set stories in the past, but these are romances, simple-minded tales of good guys, bad guys, and beautiful heroines. They have nothing to do with the serious world of events and developments described in books. Motion pictures are all about making a reputation for the director and the stars and money for the production companies.
But – and here a radical new notion begins to emerge – Ferro then admits that there are exceptions to this rule. A few directors (he names Andrei Tarkovsky, of Russia; Ousmane Sembene, Senegal; Hans Jurgen Syberberg, Germany; Luchino Visconti, Italy; and a group of Polish film-makers) possess such strong historical visions that they are able to transcend the ideological forces and traditions of their countries. Such film-makers create independent interpretations of history and thereby make ‘an original contribution to the understanding of past phenomena and their relation to the present’ (Ferro 1988: 158–64).