11:11 – Eleven Roger Ebert reviews from 2011 in memory of his transition 11 years ago

11:11 - Eleven Roger Ebert reviews from 2011 in memory of his transition 11 years ago

“Hugo”

“Hugo” celebrates the birth of cinema and dramatizes Scorsese's favorite cause: the preservation of old films. In a heartbreaking scene, we learn that Méliès, convinced that his time had passed and that his work had fallen into oblivion, melted down countless films so that his celluloid could be used to make heels for women's shoes. . But not all of them melted, and at the end of “Hugo,” we see that thanks to this boy, they never will be. Now there is a happy ending for you.

11:11 - Eleven Roger Ebert reviews from 2011 in memory of his transition 11 years ago

“Into the abyss”

Opposition to the death penalty, in part, comes down to this: no one deserves to be assigned the task of executing another person. I think that's what Captain Allen says. Herzog may agree, although he does not say so. In some of his films he freely shares his philosophy and ideas. In this movie he just watches. He always seems to know where to look.

11:11 - Eleven Roger Ebert reviews from 2011 in memory of his transition 11 years ago

“Shelter”

And then a storm comes. It is not necessary to discuss its nature here. It leads to a scene of searing power, in which Samantha tells Curtis that it is once again safe to return to the surface, which is a step she must personally take. The story seems somewhat resolved. The film then concludes not with a “surprise ending”, but with a series of shots that brilliantly summarize everything that has come before. This is masterful filmmaking.

11:11 - Eleven Roger Ebert reviews from 2011 in memory of his transition 11 years ago

“Money ball”

The director is Bennett Miller, who also directed Hoffman in the title role of the radically different “Capote.” “Moneyball” is not a traditional sports movie, and in fact, it should be equally engrossing for non-sports fans. It is not a Great Games series. When he goes out on the field it is for well-chosen crucial moments. At its core is concise, intelligent dialogue from accomplished screenwriters Aaron Sorkin (“The Social Network”) and Steven Zaillian (“Gangs of New York”). As in “The Social Network,” the abstract discussions reflect deep emotional conflicts. There are many laughs, but only one or two are inspired by lines that are intended to be funny. Instead, our laughter comes from recognition, awareness of irony, appreciation of perfect quips, and, best of all, understanding human nature.

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