"Too close for me," Ebert writes in his small spiral notebook. Jonathan Rosenbaum and Peter Sobczynski, dressed in black, are down front. The guy who used to write under the name Capone for Ain't It Cool News leans against the far wall. Michael Phillips, Ebert's bearded, bespectacled replacement on At the Movies, is on the other side of the room, one row down. She's sitting there now, drinking from a tall paper cup. His wife, Chaz, in her capacity as vice-president of the Ebert Company, sits two seats over, closer to the middle, next to a little table. The small, fabric-walled room has forty-nine purple seats in it Ebert always occupies the aisle seat in the last row, closest to the door. The critics might watch three or four movies in a single day, and they have rules and rituals along with their lunches to make it through. Some of them look as though they plan on camping out, with their coats, blankets, lunches, and laptops spread out on the seats around them. More than a dozen of them are here this afternoon, sitting together in the dark.
Roger ebert movie#
Ebert's been coming to it for nearly thirty years, along with the rest of Chicago's increasingly venerable collection of movie critics.
Published in the March 2010 "Essentials" issueįor the 281st time in the last ten months, Roger Ebert is sitting down to watch a movie in the Lake Street Screening Room, on the sixteenth floor of what used to pass for a skyscraper in the Loop.
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