Roger Ebert Was Totally Wrong About This ’90s Indie Classic—Here’s Why Fans Still Love It

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Following Anora’s Best Picture win, there is growing excitement among movie enthusiasts about whether we’re witnessing a new era of independent cinema prosperity. With the Academy Awards being won, substantial profits made, and trailblazing studios such as A24, NEON, and New Line Cinema paving the way, it’s challenging not to see indie cinema as the wave of the future. Although the upcoming indie film scene promises much, it may never surpass the grandeur of the 1990s. From the iconic works of Quentin Tarantino and Paul Thomas Anderson to lesser-known masterpieces by Hal Hartley, John Sayles, Jim Jarmusch, and others, these gifted directors were consistently churning out one classic after another for their devoted audience. However, one of the most remarkable films from that period seems to have slipped into obscurity.

The movie titled “The Daytrippers” is a charming and compact 1997 ensemble dramedy directed by Greg Mottola. It has gained acclaim from indie film enthusiasts worldwide due to its outstanding lead performances, witty script, and characters that resonate with many. Although it receives much praise on social media today, early critics were not as captivated. Two of the most vocal detractors of the film were Roger Ebert and Gene Siskel, who gave the movie a negative review, but they were significantly misguided in their assessment.

What is The Daytrippers About?

The Daytrippers, a largely overlooked indie movie directed by Greg Mottola, who later gained recognition for films like Superbad, seems to have been overshadowed by time. While other works from his filmography, such as Adventureland, have seen resurgence and reevaluation, the fate of The Daytrippers appears to be different. The movie may not have caught the attention of mainstream viewers, but it remains worthy of being enshrined in the realm of independent cinema.

The narrative primarily focuses on Eliza following a Thanksgiving gathering with her family. In the tranquil suburban life she shares with her husband Louis, who appears to be devoted, Eliza’s world is turned upside down upon finding a stray love letter. The letter hints at the possibility of Louis engaging in an affair with a woman named Sandy during business trips to New York City. Shaken and anxious, Eliza decides to venture to New York City to confront Louis. Accompanying her are her family members: her tense and bossy mother, her reserved and gentle father, her eccentric and skeptical sister Jo, and Jo’s chatty and parasitic boyfriend Carl.

As a movie enthusiast, I found myself on a turbulent road trip with this eccentric, makeshift family en route to New York City. The journey was fraught with bickering and squabbles, but eventually, it became clear that we had taken on more than we could handle. Being confined together in the station wagon revealed uncomfortable truths about our relationships, suppressed frustrations, and unfulfilled desires.

At first glance, this film seemed to be a simple tale of exposing an adulterous husband, but it quickly transformed into something far more profound. It became a heartwarming, emotional rollercoaster filled with insightful realizations, biting wit, and unexpected turns. And let me tell you, the final few minutes delivered a powerful emotional impact that left me speechless, not to mention the jaw-dropping twist that I’ll remember for years to come.

The Daytrippers manages to stir even the most reserved viewers with its blend of heartwarming laughter and poignant sadness. This film, greatly enhanced by its talented cast, provides a tender yet painful, occasionally humorous exploration of the unexpected and unavoidable pressures within family life. Similar to many indie films of the era, The Daytrippers delves into various relationships, offering an insight that doesn’t quite fit into the categories of surrealism or realism.

The Daytrippers Was Unfortunately a Failure

The movie “The Daytrippers” didn’t have much of a chance to shine at the global box office due to its release in March 1997, which happened to be an unusually busy month for cinemas. Surrounding it were significant events like the re-release of the 20th anniversary “Star Wars,” critically acclaimed films such as “The English Patient” and “The English Patient” winner at the Academy Awards, and other independent films that received more attention like “Sling Blade” and David Lynch’s “Lost Highway.” With so many strong competitors and limited resources, “The Daytrippers” was screened in only 52 theaters across the U.S. during its theater release.

Regardless of the financial struggles that the delightful comedy ensemble faced, it garnered generally favorable feedback from critics. To start with, publications like Salon and The New York Times applauded the film for being heartwarming, radiant, and skillfully made. Desson Howe’s critique at The Washington Post was especially insightful, as he accurately described it as a well-crafted movie.

“The Daytrippers proves that a great movie isn’t a matter of dollars, so much as creativity”

The movie, The Daytrippers, has earned favorable feedback not only from contemporary film critics but also from fans. By April 2025, it had garnered a commendable 73% rating from critics on Rotten Tomatoes and an equally impressive 74% approval from the audience. The film has managed to build a significant fanbase online, particularly on platforms like Letterboxd, where fans have formed strong connections with characters such as Parker Posey’s Jo and Stanley Tucci’s Louis. Despite the continuous influx of praise, it remains that one of the most renowned movie-reviewing entities in history didn’t quite see eye to eye.

Roger Ebert Was Wrong About The Daytrippers

Roger Ebert and Gene Siskel were renowned during their time for their dynamic, often contentious relationship and unpredictable film critiques that kept audiences intrigued. Audiences didn’t turn to Siskel and Ebert to validate their own opinions, but rather to gain a different perspective. Ebert stood out in this duo by not shying away from expressing dissenting views, a choice that earned him significant criticism throughout his career.

From his controversial views on movies like “The Thing,” “Jurassic Park,” and “Friday the 13th,” to his narrow-minded focus on one particular issue, Roger Ebert often stirred up controversy. One of his most misguided opinions, however, originated from a genre he usually appreciated. The critical pan by Ebert and Siskel towards “The Daytrippers” remains puzzling even today, as they expressed strong dissatisfaction with the film in a way that seemed very personal and indicative of growing frustration with independent cinema.

I grew increasingly frustrated with the characters as they seemed to constantly complain and whine, spending far too much time traveling in a car. Being stuck in this car with them didn’t help either, and their company quickly became tiresome, particularly Anne Meara’s.

Siskel was even harsher, saying:

“I did not care for this picture, I could see The Daytrippers as maybe a college student film.”

In 1997, the renowned duo assessed “The Daytrippers” on their TV program, “At the Movies.” This movie was evaluated alongside other less-remembered films from that year, including “Jungle 2 Jungle,” “Kama Sutra,” and “Good Luck.” Looking back, it’s clear that “The Daytrippers” stands out as the most significant of the group. However, at the time, Siskel and Ebert didn’t share this view. Instead, they concurred that “The Daytrippers” was a misstep for them.

The Daytrippers is Perfect for Superbad Fans

As a fan, I can confidently say that although they might seem dissimilar at first glance, both “The Daytrippers” and the iconic comedy of the 2000s have striking similarities and differences thanks to Greg Mottola’s directorial influence. While “Superbad” was penned by Seth Rogen and Evan Goldberg, not Mottola himself, the humor in both films shares a common thread due to Mottola’s unique directorial style.

Throughout its entirety, “The Daytrippers” strategically reveals the undercurrents of its raunchy theme. It also showcases Mottola’s versatile comedic skills and talent for crafting emotionally intense scenes. Unlike “Superbad,” which isn’t typically watched for emotional depth, it relies heavily on the heartfelt foundation of Evan and Seth’s relationship to operate effectively.

This dynamic between the main characters mirrors that found in the movie “The Daytrippers.” They are close friends striving to advance in life, yet they also yearn for individual identity. Both films employ a similar technique by portraying these characters spending excessive time together, and this prolonged closeness serves as the catalyst for their eventual falling out.

The main distinction between these films lies in their ultimate objectives. “The Daytrippers” aims to touch the hearts of viewers through a subdued and unspectacular finale (featuring a powerful monologue from Stanley Tucci). In contrast, “Superbad” remains faithful to its comedic origins, wrapping up on an optimistic and amusing note, with reconciliation and growth coexisting. If you’re a fan of “Superbad” seeking a humorous evening, I recommend checking out “The Daytrippers”, which was released a decade prior. Although it may not provide the identical laugh-out-loud moments, it will surely satisfy your craving for humor nonetheless.

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2025-05-04 20:18