Buzz
The most heated debate between Gene Siskel and Roger Ebert revolved around a dog.
In 1987, the two renowned critics clashed on their show *Siskel and Ebert At the Movies* over Ebert’s positive review of *Benji the Hunted*, a sentimental family film about a lost dog. This was particularly striking as Ebert had shown only mild appreciation for Stanley Kubrick’s acclaimed war film *Full Metal Jacket* in the same episode.
Ebert remarked, 'It’s a story of a dog surviving in the wild. Stunning visuals, adorable cougar cubs … the grandeur of nature, the tiny kittens navigating a stream … it’s a film children would absolutely love.'
“You’re using children as a shield,” Siskel remarked.
“You’re hiding behind the guise of being a highbrow critic!” Ebert retorted.
“On this show, you praise *Benji the Hunted* but not Kubrick’s masterpiece,” Siskel countered.
Ebert had evaluated each film individually, concluding that *Benji the Hunted* excelled as an adventure flick more than *Full Metal Jacket* did as a war film. Yet, his unconventional opinions often sparked backlash, much like Siskel’s reaction. Here are 10 more “flawed” movies Ebert surprisingly championed.
*Sudden Death* (1995)
As one of many *Die Hard* imitations that struggled at the box office, positive reviews were rare, as was the case with Belgian action icon Jean-Claude Van Damme’s filmography. However, Ebert found enjoyment in this story of a firefighter (Van Damme) tasked with thwarting a terrorist (Powers Boothe) from detonating a Pittsburgh hockey arena.
“Of course, *Sudden Death* doesn’t prioritize logic. It focuses on crafting thrilling action and special-effects sequences, and it succeeds quite well,” Ebert noted in his 2.5-star review. (The film also received a thumbs-up on his TV show.)
Ebert was far less impressed with one of Van Damme’s later projects, 1997’s *Double Team*, which he labeled as “absurd.”
*Speed 2: Cruise Control* (1997)
Few admirers of the 1994 blockbuster *Speed*, starring Keanu Reeves and Sandra Bullock, had anything positive to say about its sequel, which seemed like a profit-driven move by 20th Century Fox. Jason Patric replaced Reeves, and instead of a runaway bus, he and Bullock found themselves stranded on a cruise ship.
Ebert had a great time. “Films like this revel in their absurdity with almost indulgent delight,” he wrote. “And on a balmy summer night, so do I.”
Audiences, however, did not share his enthusiasm. The sequel barely scraped together $48.6 million in the U.S., less than half of the original’s $121 million domestic haul. Reeves later expressed disbelief at the concept. “I adored playing Jack Traven and loved *Speed*, but a cruise ship?” he remarked in 2021. (For context: The bus in *Speed* had to maintain 50 mph, while cruise ships typically glide at around 23 mph.)
*Paul Blart: Mall Cop* (2009)
Kevin James’s slapstick humor isn’t for everyone, but Ebert embraced it fully. He gave *Paul Blart: Mall Cop* three out of four stars, praising the comedian’s role as a shopping mall security guard who takes on criminals. Ebert seemed to enjoy James’s family-friendly comedy and his unconventional portrayal of an action hero.
“The film starts as a sitcom but shifts gears when Officer Blart springs into action, delivering a clever chase scene filled with creative product placements,” Ebert noted. “It even puts a fresh spin on the classic ventilation-shaft escape trope.”
Blart seemed to defy Ebert’s First Law of Funny Names, a principle he initially compiled in the 1980s as part of his glossary of film terminology. He famously stated, “Funny names are only effective when delivered by W.C. Fields or Groucho Marx. Otherwise, they often signal a lack of creativity in the screenplay.”
Home Alone 3 (1997)
Ebert’s analysis of the Home Alone series reveals stark differences. While he was largely critical of
Home Alone 3 retained just one element from its predecessors—John Hughes as the screenwriter—as Columbus and Culkin moved on. Surprisingly, this iteration earned Ebert’s approval. He praised Alex Linz, Culkin’s replacement, for his “genuinely sweet smile” and noted that the booby traps, though still painful, felt more comedic this time. Ebert appreciated Raja Gosnell’s direction for avoiding excessive cruelty and focusing on slapstick humor, concluding, “The stunts are more entertaining, or perhaps I was just in a particularly lighthearted mood.”
Siskel was surprised by Ebert’s shift in opinion, inquiring during their show, “Are you feeling alright?” Ebert defended his stance, arguing that the film resonated with children and that “this installment finally nailed the formula.” (Three additional Home Alone films were later released, none of which included Culkin or received Ebert’s support.)
Cop and a Half (1993)
Understanding Ebert’s preferences requires confronting an awkward truth: He was delighted by this 1993 Burt Reynolds comedy. The film features Reynolds as a seasoned cop paired with a sharp-witted child (Norman D. Golden II), who insists on being treated as a full-fledged officer in exchange for crucial evidence he holds.
Ebert described the movie as “fundamentally cheerful and kind-hearted” and even used the opportunity to critique Home Alone 2 once more. He claimed Cop and a Half was “more enjoyable” than the Culkin-led blockbuster. When Siskel later pressed him to rethink his stance on the film, Ebert stood firm.
(A fascinating tidbit: Culkin was initially considered for the role of the young cop, but negotiations reportedly collapsed after his representatives rejected a $1.5 million offer.)
If Looks Could Kill (1991)
Richard Grieco rose to fame through his roles on 21 Jump Street and its spin-off, Booker. In the early 1990s, he was groomed for a film career, but this ambition faltered partly due to the underwhelming performance of If Looks Could Kill, a comedy where his character is wrongly identified as a spy during a school trip to France.
Ebert seemed impressed by the film’s lighthearted tone, though his three-star review reflected some uncertainty. “Did I enjoy the movie?” he pondered. “My feelings shifted constantly … By the time the chateau was ablaze and the helicopter tore through the burning roof, I had to admit, yes, I was entertained.”
Audiences, however, were less forgiving. The movie opened in 11th place during its debut weekend, overshadowed by hits like The Silence of the Lambs and Ebert’s frequently criticized Home Alone.
Firewall (2006)
Harrison Ford’s career was waning when he starred in Firewall, a lackluster tech thriller. In the film, his character, a security expert, is coerced by a criminal (Paul Bettany) into breaching a bank’s systems to steal millions.
The movie was formulaic, but Ebert didn’t seem to mind, giving it three stars. He noted, “What stood out was the skill Ford, [Virginia] Madsen, and Bettany brought to their roles. If you’re into this kind of film, you’ll overlook its flaws—otherwise, steer clear. When a flawless thriller comes along, I’ll be the first to let you know.”
Green Lantern (2011)
Few, including star Ryan Reynolds, have much praise for this adaptation of the iconic DC Comics hero, a space cop who wields a ring capable of creating anything. While Ebert didn’t lavish it with accolades, he still considered it entertaining.
“There’s a lot happening here,” he wrote. “We’re not looking for deep performances or intricate dialogue. A compelling villain is a must, along with a single, innocent kiss between the leads—nothing more. Spectacular visuals, like the ancient Green elders perched atop towering pillars, are a highlight. Green Lantern delivers on all fronts, and for what it’s worth, I preferred it over Thor.”
Battleship (2012)
A loud, high-budget adaptation of the classic board game, Battleship has few fans. However, Ebert didn’t seem to mind the concept of a film inspired by a Hasbro product. “The movie follows in the footsteps of the Transformers series, also based on Hasbro games, and it feels like Hasbro handed director Peter Berg some Michael Bay films and said, ‘Do something similar,’” he noted. “To Berg’s credit, Battleship is more engaging than the Transformers films, thanks to slightly more developed characters, a stronger storyline, and plenty of naval battle tactics.”
Welcome to Mooseport (2004)
Ebert praised this comedy, which follows a former U.S. president (Gene Hackman) who moves to a quaint Maine town and ends up competing for mayor against a local plumber (Ray Romano). The film was a critical and commercial flop, showcasing Ebert’s tendency to go against the grain.
“The success of the movie hinges on the actors’ charm,” Ebert observed. “Hackman could win over anyone with ease. Romano, on the other hand, is more of a humble, sincere type whose appeal is subtle and only surfaces now and then.”
Co-star Maura Tierney later quipped that Welcome to Mooseport played a role in Hackman’s decision to retire from acting. While it was his final film, it wasn’t necessarily due to the movie’s quality. Hackman later cited health concerns as the reason for stepping away from the spotlight.
