10 Movies Gene Siskel and Roger Ebert Clashed Over

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Gene Siskel and Roger Ebert, renowned as two of the sharpest film critics in history, avoided pointless arguments about who was superior. Instead, they chose camaraderie, co-hosting numerous movie review shows. Siskel contributed to the Chicago Tribune, while Ebert was with the Chicago Sun-Times. Throughout their careers, they presented shows such as ‘Sneak Previews’, ‘At the Movies’, and ‘Siskel & Ebert & the Movies’.

Siskel and Ebert, though friends, didn’t see eye-to-eye on all films. Their debates were intense, and they often gave opposite verdicts using their signature “Thumbs Up” or “Thumbs Down.” Consequently, they had contrasting views on several blockbuster movies, as expressed in their TV discussions and print reviews. However, their disagreements never affected their commitment to fairness and objectivity.

10
‘Full Metal Jacket’ (1987)

Known for being one of the most captivating films about military boot camp, Full Metal Jacket initially transports us to a USMC training facility on Parris Island, where the soft-hearted recruit “Gomer Pyle” Lawrence (Vincent D’Onforio) is relentlessly picked on by his tough instructor, Hartman (Lee R Emery). Later, the story moves to the unforgiving landscapes of Vietnam.

One of Stanley Kubrick’s Best Efforts

In this film, I found myself perfectly matched with my co-star, creating an intense and exasperating dynamic that mirrors the struggle of being at odds with authority. I must admit, he was particularly intimidating, portraying Gomer Pyle as a psychotic, reserved, reclusive character who seemed almost untouchable by Hartman’s attempts to instill discipline.

The movie was even nominated for Best Adapted Screenplay at the Oscars, but Ebert argued it felt “unusually disjointed“, suggesting it didn’t quite measure up to other Vietnam-themed war movies like Platoon and The Deer Hunter. Ebert’s critique sparked a disagreement between us, as on their TV show At the Movies, Siskel passionately declared that Ebert was “mad to prefer Benji the Hunted over Full Metal Jacket.

9
‘The Big Lebowski’ (1998)

In “The Big Lebowski”, laid-back character Jeff ‘The Dude’ Lebowski, portrayed by Jeff Bridges, is wrongfully targeted by hooligans who assume he is a wealthy man of the same name. Enraged over a soiled rug, he embarks on a mission to recover damages from his namesake. Subsequently, he is given a task as a courier, and invites his friends to join him on this adventure.

Another Coen Brothers Hit

Initially, there were a variety of opinions about “The Big Lebowski” upon its release, but today it’s recognized as a cult favorite. In a departure from his usual roles, Jeff Bridges portrays The Dude with authenticity and a laid-back demeanor, particularly during the film’s comedic high points, offering one of his best performances to date. Reflecting the divided opinions at the time, Ebert rated the movie three out of four stars, calling it “intriguingly captivating,” while Siskel found the humor lacking and described it as “uninspiring.

8
‘Blue Velvet’ (1986)

Jeffrey, played by Kyle MacLachlan, switches into detective mode when he stumbles upon a severed ear belonging to a human nearby his home. Upon discovering that this gruesome discovery is connected to a nightclub performer named Dorothy (Isabella Rossellini), he encounters her and finds himself in a delicate situation where he must balance his emotions while also dealing with the individual terrorizing Dorothy.

No Lynching for Lynch

The film “Blue Velvet” showcases exceptional camerawork, sharp dialogues, and Jeffrey’s tumultuous encounters with a peculiar assortment of eccentric characters. This movie garnered David Lynch his second Academy Award nomination for Best Director, despite some critics denouncing its explicit scenes as lacking in artistic merit. While renowned critic Roger Ebert, a fan of Lynch’s work, acknowledged the film’s inconsistencies, he argued that it was so torn between contrasting themes that it ultimately disintegrated. In stark contrast, Gene Siskel ranked “Blue Velvet” among his top films of 1986.

7
‘Scarface’ (1983)

Titled after a 1930s Howard Hawks gangster movie, Brian de Palma’s Scarface follows the story of Tony Montana (played by Al Pacino), a Cuban immigrant who experiences both rise and downfall. Upon obtaining a green card through an assassination of a Cuban government official, he ascends to the peak of Miami’s criminal underworld, but unfortunately, his own actions lead to his eventual downfall.

Violence Over Substance?

Movies like Scarface feature memorable sequences, and one of its most famous is when Tony says, “Meet my little friend.” The director, Brian de Palma, skillfully portrays the violence and cinematography in a captivating manner. Tony Montana’s character has been frequently referenced in movies and music due to his intrigue. Interestingly, Siskel considered Tony as one of cinema’s least interesting characters, suggesting that without the violence, the film would lack substance. However, Ebert saw it differently, praising the film for its authenticity. He stated, “We are not watching crime-movie stereotypes; we are observing individuals who are criminals.

6
‘The Silence of the Lambs’ (1991)

Intriguingly, the infamous cannibal serial killer Dr. Hannibal Lecter (Anthony Hopkins), who’s served time behind bars, is open to discussion. Yet, his chilling notoriety doesn’t deter FBI Academy’s brightest newcomer, Clarice Starling (Jodie Foster). However, she underestimates the extent of his manipulative prowess. Will she make it through until the climax of “The Silence of the Lambs”?

The Fifth-Highest-Grossing Film of 1991

Similar to Alfred Hitchcock, director Jonathan Demme skillfully constructs tension around the enigma of Lecter’s character – is he a murderer driven by attention deprivation? – in a way that satisfies even the most discerning viewers. To this day, it stands as the only horror movie to receive the Best Picture award. Roger Ebert admired the “terrifying aspects” of Hannibal Lecter and included the horror film among The Great Movies. On the other hand, writing for the Chicago Tribune, Siskel expressed disappointment that “Foster’s character, who is likable, gets overshadowed by the monstrous figures she is pursuing.” He stated he’d prefer to see her tackle another case instead.

5
‘Apocalypse Now’ (1979)

During the 1970s, Francis Ford Coppola was exceptionally productive and concluded the decade in an outstanding manner by directing the Vietnam War film titled “Apocalypse Now.” In this movie, Martin Sheen portrays Captain Willard who is given a mission to eliminate Colonel Kurtz, a renegade Special Forces officer played by Marlon Brando.

Another Fun Brando-Coppola Collaboration

In spite of the numerous challenges during production, the film “Apocalypse Now” is a significant visual achievement, an accolade acknowledged by the Academy. Coppola captivates the serene, verdant Vietnamese landscape with natural audio, lengthy shots, and a mobile camera. Although this 153-minute film moves at a deliberately slow pace, contemplative viewers will find it rewarding.

Roger Ebert deemed it the superior film from 1979, asserting that it attains greatness not by dissecting our “Vietnam experience,” but by portraying, through characters and visuals, a fragment of that experience. However, Gene Siskel expressed dissatisfaction, arguing that the war drama becomes incomprehensible during its last 25 minutes.

4
‘Unforgiven’ (1992)

The African Film Institute designates Unforgiven as one of the top Westerns. This film centers around an older gunfighter named William Munny (Clint Eastwood), who’s pulled out of retirement, to aid a close-knit gang of prostitutes in seeking retribution against an offender who mutilated one of their own. Accompanying Munny is his old associate, Ned Logan (Morgan Freeman).

A Deserving Best Picture Winner

This Old Man Western, set in a grim, tense atmosphere, gradually builds up tension as it revisits the genre. Gene Hackman delivers a chilling performance as an unyielding sheriff who dislikes bounty hunters entering his town. Roger Ebert was deeply impressed, noting: “The unwavering moral equilibrium, where goodness ultimately overpowers evil, is central to Westerns, and Eastwood doesn’t shy away from emphasizing this.” In contrast, Siskel found it lacking, complaining about its length and unnecessary quirky characters.

3
‘Friday the 13th Part VI: Jason Lives’ (1986)

Delving into the realms of mental anguish, the mysterious, and retribution, I find myself critiquing the sixth chapter of the iconic slasher saga, “Friday the 13th.” After a lifetime of battling the infamous hockey-masked menace, Jason Voorhees (C.J. Graham), Tommy Jarvis (Thom Mathews) finds himself institutionalized, haunted by the ghostly echoes of his past encounters. In an attempt to silence these tormenting whispers, I venture to the graveyard where Jason lies buried, with a desperate hope of exhuming the malevolent spirit and reducing it to ashes. However, my quest for peace proves more challenging than anticipated in the electrifying tale of “Jason Lives.

Jason, Like We’ve Never Seen Him Before

As a die-hard horror movie enthusiast, I’ve always admired Jason for his chilling portrayal as one of the most iconic slasher villains. However, when this particular film came along, they decided to transform him into an undead, superhuman monster – making him even more captivating! This character development has remained consistent throughout subsequent films. The clever use of meta humor, thrilling action sequences, and Gothic horror elements in this movie truly set it apart as one of the franchise’s finest installments. According to Ebert, it was simply “a whole lot of fun.” Siskel appreciated the self-deprecating humor but voiced his disappointment that the latest release felt like a repetition of the previous five films’ storyline.

2
‘Die Hard’ (1988)

In the movie Die Hard, it’s not a typical Christmas Eve for NYPD Detective John McClane (Bruce Willis). Instead of wooing his estranged wife at an office party in New York, he finds himself in Los Angeles. However, things take an unexpected turn as soon as he steps into the building; terrorists, led by Hans Gruber (Alan Rickman), seize control. Their goal is to obtain $640 million worth of untraceable bearer bonds, but McClane stands firm and thwarts their plans.

A Christmastime Essential

McClane’s witty remarks and barefoot dashes are captivating aspects, but what truly elevates this ’80s action movie to a timeless classic is its intense finale – a gripping showdown between the law enforcement officer and the terrorist. However, Roger Ebert wasn’t entirely convinced. He particularly criticized the police captain character, played by Paul Gleason, as being “unnecessarily obstructionist and dim-witted,” claiming it wasted screen time and compromised the plot. On the other hand, Gene Siskel appreciated Bruce Willis’ performance in the film.

McClane’s funny one-liners and running barefoot are cool highlights, but what makes this ’80s action movie a classic is its intense ending – a tense battle between the cop and the terrorist. However, Roger Ebert wasn’t fully convinced. He thought the police captain character, played by Paul Gleason, was unnecessary and not very smart, which he felt wasted screen time and weakened the storyline. Gene Siskel, on the other hand, praised Bruce Willis’ acting in the film.

1
‘Out of Sight’ (1998)

In a new take on things: Jack Foley, famously known as America’s most elusive bank robber (portrayed by George Clooney), finds himself in handcuffs at one point. When he gets released from prison, he becomes smitten with Karen Sisco (played by Jennifer Lopez). However, she is not just any ordinary woman; she is a U.S. Marshal. To uncover the intrigue between them, watch the movie Out of Sight.

Out of Comprehension

The film “Ought of Sight” is particularly noted for its connection to Quentin Tarantino’s “Jackie Brown,“, as both films share the character portrayed by Michael Keaton. Furthermore, it stands out among caper films for its creative and intricate narrative that interweaves crime and romance. Roger Ebert highly commended Clooney’s acting, asserting that he had never been more exceptional, and praised his seamless transition from television to the big screen. On the other hand, Siskel found it challenging to grasp the movie’s underlying theme.

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2025-04-09 06:03