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Gene Siskel. Eugene Kal Siskel (January 26, 1946 – February 20, 1999) was an American film critic and journalist for the Chicago Tribune who co-hosted movie review television series alongside colleague Roger Ebert. [1] Siskel started writing for the Chicago Tribune in 1969, becoming its film critic soon after.
Roger Ebert. Gene Siskel (January 26, 1946 – February 20, 1999) and Roger Ebert (June 18, 1942 – April 4, 2013), collectively known as Siskel & Ebert, were American film critics known for their partnership on television lasting from 1975 to Siskel's death in 1999. [1]
On-screen graphic from Roger Ebert & the Movies.. Ebert continued the show with a series of guest critics. [28] [29] Originally retaining the Siskel & Ebert title, the program was renamed Roger Ebert & the Movies on the weekend of September 4–5, 1999, after Siskel's death.
Gene Siskel and Roger Ebert inspired a generation of future film critics. Matt Singer returns the favor in 'Opposable Thumbs,' his bio of the odd couple.
At the Movies (also known as At the Movies with Gene Siskel and Roger Ebert) is an American movie review television program that aired from 1982 to 1990. It was produced by Tribune Entertainment and was created by Gene Siskel and Roger Ebert when they left their show Sneak Previews, which they began on Chicago's PBS station, WTTW, in 1975.
That’s how Matt Singer, author of the upcoming book “Opposable Thumbs: How Siskel & Ebert Changed Movies Forever,” describes the two most famous film critics in history.
The show originally featured Roger Ebert, a film critic for the Chicago Sun-Times, and Gene Siskel, a film critic for the Chicago Tribune. The two newspapers were competitors, and so were Siskel and Ebert. As Ebert wrote after Siskel's death in 1999: We both thought of ourselves as full-service, one-stop film critics.
Ebert's television film critic partner Gene Siskel considered the uncut version to be the best film of 1984 and the shortened, linear studio version to be the worst film of 1984. [72] Vincent Canby of The New York Times criticized the nonlinear narrative that is structured throughout the film. [73]
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