The Girl Without Hands
What he does best is create a palpable sense of dread without pushing, without tilting into melodrama.
* 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.
Writer/director Amy Heckerling takes a look back at her career.
An interview with David Oyelowo, star and producer of Amma Asante's "A United Kingdom."
A review written in 60 minutes about "John Wick: Chapter Two."
FFC Pablo Villaça explores the themes at the heart of Denis Villeneuve's sci-fi film "Arrival."
An interview composer Raphael Saadiq about making the music for "Underground," "Insecure" and more.
An extensive preview of 50 films coming out within the next four months, from "Sully" to "Toni Erdmann."
The first films announced for the 2016 Toronto International Film Festival.
A piece on extending the conversation about diversity at the Oscars to include all minorities.
The latest and greatest on Netflix, VOD, and Blu-ray, including The End of the Tour, Southpaw, Inside Out, The Gift, Army of Darkness, Kwaidan, and more!
Highlights of the live-action portion of 2015's D23, featuring "Star Wars: The Force Awakens," "Captain America: Civil War," and more!
A preview of dozens of films being released this Summer.
An FFC looks at the "Taken" saga.
"Selma" director Ava DuVernay and star David Oyelowo discuss their collaboration at the Film Independent Directors Close-Ups.
An interview with Kevin Macdonald, director of "Black Sea."
A report on the weekend presentation of "White House Butler Down," J. Hoberman's simultaneous screening of "The Butler" and "White House Down."
An exhaustive list of Top 10s by RogerEbert.com contributors.
The Oscars race has hit a holiday lull. It's a good time to pause and take stock of nominations.
Critics groups from around the country are giving awards. What impact do these awards have on the Oscar race, and how useful are they as predictors?
"12 Years a Slave" and "The Butler" are part of a valuable subgenre of American film that dramatizes the fallacy of "Black respectability"—the notion that if African-Americans will only speak, dress and behave in a certain way, discrimination won't affect them, and they'll reap the American dream.
Four standout performances by black actors make the Oscar Best Actor race more interesting this year.
Lee Daniels, the director of "Lee Daniels' The Butler," discusses his personal stakes in the story and working with Forest Whitaker on the way the character grows and changes.
Marie writes: Last week, in response to a club member comment re: whatever happened to Ebert Club merchandize (turned out to be too costly to set up) I had promised to share a free toy instead - an amusement, really, offered to MailChimp clients; the mail service used to send out notices. Allow me to introduce you to their mascot...
Marie writes: There was a time when Animation was done by slaves with a brush in one hand and a beer in the other. Gary Larson's "Tales From the Far Side" (1994) was such a project. I should know; I worked on it. Produced by Marv Newland at his Vancouver studio "International Rocketship", it first aired as a CBS Halloween special (Larson threw a party for the crew at the Pan Pacific Hotel where we watched the film on a big screen) and was later entered into the 1995 Annecy International Animated Film Festival, where it won the Grand Prix. It spawned a sequel "Tales From the Far Side II" (1997) - I worked on that too. Here it is, below.
Barbara Scharres reports on the winners at the Cannes Film Festival.