In my very first review I was already jaded, observing of "Galia," an obscure French film, that it "opens and closes with arty shots of the ocean, mother of us all, but in between it's pretty clear that what is washing ashore is the French New Wave." My pose in those days was one of superiority to the movies, although just when I had the exact angle of condescension calculated, a movie would open that disarmed my defenses and left me ecstatic and joyful.
Roger Ebert
It goes without saying that only inner greatness possess a true value ("une valeur véritable,", Fr.) . Any attempt to rise up (or at rising up, - "s'élever", Fr.) outwardly above others, or to want (or wish) to impose one's superiority, denote a lack of moral greatness, since we do not try to replace ("suppléer", Fr.) in that way (.... in French "par l?", Fr.) to what, if we did really possess it, would have no need whatsoever to flaunt itself.
African Spir
Saving Silverman is so bad in so many different ways that perhaps you should see it, as an example of the lowest slopes of the bell-shaped curve. This is the kind of movie that gives even its defenders fits of desperation. Consider my friend James Berardinelli, the best of the Web-based critics. No doubt 10 days of oxygen deprivation at the Sundance Film Festival helped inspire his three-star review, in which he reports optimistically, "Saving Silverman" has its share of pratfalls and slapstick moments, but there's almost no flatulence." Here's a critical rule of thumb: You know you're in trouble when you're reduced to praising a movie for its absence of fart jokes, and have to add "almost"... as for Neil Diamond, Saving Silverman is his first appearance in a fiction film since The Jazz Singer, and one can only marvel that he waited 20 years to appear in a second film, and found one even worse than his first one.
Roger Ebert
On the French view of international politics: "According to my dictionary, the word 'ally' comes from the Old French. Very Old French, I'd say. For the New French, the word has a largely postmodern definition of 'duplicitous charmer who undermines you at every opportunity.'
Mark Steyn
Ebert, Roger
Ebner-Eschenbach, Marie von
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