Nerve wants to be a cautionary tale about the perils of desiring fame through social media, but it isn’t willing to go to the darker…
Roger Ebert became film critic of the Chicago Sun-Times in 1967. He is the only film critic with a star on Hollywood Walk of Fame and was named honorary life member of the Directors' Guild of America. He won the Lifetime Achievement Award of the Screenwriters' Guild, and honorary degrees from the American Film Institute and the University of Colorado at Boulder.
Chaz is the Publisher of RogerEbert.com and a regular contributor to the site, writing about film, festivals, politics, and life itself.
Matt Zoller Seitz is the Editor-in-Chief of RogerEbert.com, TV critic for New York Magazine, the creator of many video essays about film history and style, a finalist for the Pulitzer Prize in criticism, and the author of The Wes Anderson Collection. His writing on film and TV has appeared in The New York Times, Salon, New York Press, The Star-Ledger and Dallas Observer. (Banner illustration by Max Dalton)
A table of contents featuring articles commemorating Roger's birthday.
Wishing Roger Ebert a happy 74th birthday.
Corinthians and the rodent.
One of the nastiest big-budget movies of its decade; its ugly charge hasn't dimmed.
The new Hollywood tearjerker has a dangerous message.
For the 30th installment in his series about maligned masterworks, Scout Tafoya examines Hitchcock's dizzying oddities "Torn Curtain" and "Topaz."
Roger's Favorites: Werner Herzog.
An article about the 2016 ILLUMINATE Film Festival in Sedona, Arizona.
Roger's Favorites: actress Faye Dunaway.
When I began as a film critic, Jean-Luc Godard was widely thought to have reinvented the cinema with "Breathless" (1960). Now he is almost 80 and has made what is said to be his last film, and he's still at the job, reinventing. If only he had stopped while he was ahead. That would have been sometime in the 1970s. Maybe the 1980s. For sure, the 1990s. Without a doubt, before he made his Cannes entry, "Film: Socialisme."
The thousands of seats in the Auditorium Debussy were jammed, and many were turned away. We lucky ones sat in devout attention to this film, such is the spell Godard still casts. There is an abiding belief that he has something radical and new to tell us. It is doubtful that anyone else could have made this film and found an audience for it.