Julia Roberts Starred In A Horror Flop That Roger Ebert Really Appreciated
Hook: When film critics dismiss a disaster, a pack mentality fuels their judgment. Michael Cimino’s Heaven’s Gate was a victim of overreaction, as audiences ignored its budget overruns and erratic directorial style. But then came another: Elaine May’s *Ishtar, which found its way under review due to pre-release buzz. And then there was *Michael Lehmann’s Hudson Hawk****, a movie dismissed as vanity but praised for its clever storytelling. These films, released in the 1990s, were often left untouched by critics, yet they sparked conversations about genre authenticity.
Introduction: Critics often see disasters as failures, but this isn’t the case. Films like Mary Reilly (1996), directed by Roger Ebert, proved that genre can thrive when artists embrace its spirit. Ebert, who took the movie on his own terms, saw Mary Reilly as a dark, haunting story that resonated beyond its box office success.
Main Sections:
- Heaven’s Gate: Cimino’s Heaven’s Gate was praised for its emotional depth, even if it was seen as a budgetary mess. Ebert noted its adherence to the original story’s tone rather than just making it up.
- Ishtar: Elaine May’s Ishtar faced backlash for poor acting, but her performance captured the complexity of the supernatural. Ebert admired its ability to blend horror with sensuality, arguing it was more faithful to the source than many adaptations.
- Mary Reilly: Ebert called the film “a dark, sad, frightening, gloomy story,” highlighting its psychological tension. His partner Gene Siskel echoed this, saying that the film’s performances and direction made it worth watching despite its flaws.
Deeper Analysis: These films illustrate how genre expectations can shape perception. While critics often ignore the artistry behind a movie, a deeper look reveals how directors push boundaries. For example, Mary Reilly showed how a young woman could explore themes of guilt and madness without relying solely on visual effects or star power.
Conclusion: In the end, it’s the critic’s role to engage with films they present. As Ebert did, viewers might find themselves drawn to stories that challenge norms, proving that true horror lies in its human element, not just the spectacle.
