The Hitman's Bodyguard
While no one is going to mistake The Hitman’s Bodyguard for high art, it will please those in the mood for late-summer fun.
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
An interview with Dee Rees, the director of "Mudbound."
A review of the fantastic "Mudbound."
A preview of what's playing at the 2017 Sundance Film Festival, including some recommendations from what we've seen so far.
Premieres, Midnights, Special Events and more have been announced for next month's Sundance Film Festival.
Reflections on the women-directed films released over the course of the 25th anniversary of Sony Pictures Classics.
The latest and greatest on Blu-ray and DVD, including "Bridge of Spies," "Chi-Raq," "Suffragette," "Truth" and more.
A review of the Criterion release of Joel & Ethan Coen's "Inside Llewyn Davis."
How Nick Hornby became one of the most valuable writers for women in Hollywood.
A review of "Suffragette" from Telluride.
An overview of the films that will be theatrically released in the 2015 fall season.
An interview with the Oscar-nominated actress, Helena Bonham Carter.
The latest and greatest on Netflix, On Demand and Blu-ray/DVD, including "Insurgent," "The Water Diviner," "The People Under the Stairs" and "Night and the City".
An interview with the legendary star of the new I'll See You in My Dreams.
An exhaustive list of Top 10s by RogerEbert.com contributors.
Katherine Tulich talks to Oscar Isaac and Carey Mulligan about the making of "Inside Llewyn Davis."
Nelson Mandela 1918-2013; the war on smarm; Bilge Ebiri on "Inside Llewyn Davis"; Christmas with X-Men; the fan-led revival of "The Assassination of Jesse James."
Slut shaming in geek culture; Rock Hudson's wife tape-recorded herself confronting her husband about his sexual orientation; how Michael Douglas used his own experience to flesh out Liberace; Carey Mulligan might play Hillary Clinton in a biopic; New Yorker cartoonists talk about the delicate art of collaboration; Upstream Color comes to Netflix instant.
Now that the Cannes Film Festival is over, critics Ben Kenigsberg and Michał Oleszczyk take a look back over the festival.
At Cannes, the Coen brothers discuss their inspirations for "Inside Llewyn Davis."
After duds "Jimmy P." and "Grand Central," the Coen brothers' "Inside Llewyn Davis" saves the day for Barbara Scharres.
Power is rarely discussed at Cannes, and it’s ostensibly all about art, although careers can hang on critics’ approval, and whether films are sold here, and to how many regions of the world. The annual jury press conference on the opening day is the first and foremost love-fest in which the concept of competition is downplayed and jurors find novel ways to sidestep the question of comparing one film to another in order to award the Palme d’Or in ten days.
Barbara Scharres sets the stage the 66th annual Cannes Film Festival.
Marie writes: the great Ray Harryhausen, the monster innovator and Visual Effects legend, passed away Tuesday May 7, 2013 in London at the age of 92. As accolades come pouring in from fans young and old, and obituaries honor his achievements, I thought club members would enjoy remembering what Harry did best.
Marie writes: I was looking for something to make Roger laugh, when the phone rang. It was a bad connection, but this much I did hear: "Roger has died." That's how I learned he was gone, and my first thought was of the cruel and unfair timing of it. He'd been on the verge of realizing a life long dream: to be the captain of his own ship.
This is a free sample of the Newsletter members receive each week. It contains content gathered from recent past issues and reflects the growing diversity of what's inside the club. To join and become a member, visit Roger's Invitation From the Ebert Club.
Marie writes: Not too long ago, Monaco's Oceanographic Museum held an exhibition combining contemporary art and science, in the shape of a huge installation by renowned Franco-Chinese artist Huang Yong Ping, in addition to a selection of films, interviews and a ballet of Aurelia jellyfish.The sculpture was inspired by the sea, and reflects upon maritime catastrophes caused by Man. Huang Yong Ping chose the name "Wu Zei"because it represents far more than just a giant octopus. By naming his installation "Wu Zei," Huang added ambiguity to the work. 'Wu Zei' is Chinese for cuttlefish, but the ideogram 'Wu' is also the color black - while 'Zei' conveys the idea of spoiling, corrupting or betraying. Huang Yong Ping was playing with the double meaning of marine ink and black tide, and also on corruption and renewal. By drawing attention to the dangers facing the Mediterranean, the exhibition aimed to amaze the public, while raising their awareness and encouraging them to take action to protect the sea.