Sometimes, it feels as if we are eavesdropping on day-to-day conversations rather than just hearing the usual litany of platitudes and regrets.
* 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.
A critic looks back on the films that formed the way she reads cinema and life.
An interview with Joe Dante, director of the new Burying the Ex.
Shoes that put women in their place; Best and worst of Cannes 2015; O Martyr My Martyr; John Williams on "Star Wars: Episode VII"; Jane Fonda on plastic surgery.
Roger Ebert's 2003 book, "The Great Movies," is on sale as an e-book for $1.99 through May 24th.
A reposting of Godfrey Cheshire's landmark essay in anticipation of the Critic's Forum at Ebertfest.
Meet the critics attending Ebertfest 2015.
Roger Ebert's essay on film in the 1978 edition of the Britannica publication, "The Great Ideas Today."
Donald Liebenson chats with actor/comedian/writer Patton Oswalt about his new book "Silver Screen Fiend: Learning About Life From an Addiction to Film."
Sheila writes: Awards season heats up! "Life Itself," Steve James' documentary about Roger Ebert, which premiered at Sundance last January, has been winning awards, appearing on a lot of End-of-the-Year lists, as well as being placed on the shortlist for an Academy Award. You can read more information about all of it on Rogerebert.com. Very exciting!
David Chase comments on Tony Soprano's fate; How writers find their voices; The 'Star Wars' Lucas wants to forget; 20 overlooked 60s thrillers; Hollywood's new hit factory.
An examination of Richard Linklater's "Boyhood," how it deals with time and influence, and its relation to Dante's "The Divine Comedy."
RogerEbert.com contributor Godfrey Cheshire's landmark two-part series "Death of Film/Decay of Cinema" anticipated many of the changes that would later shake the medium to its core.
Joe Swanberg on "Sex Tape"; The problem with "Star Wars"; Advice for writers of color; The necessary evil of Twitter; Jonah Ray hates Sublime's "What I Got."
Author Peter Biskind revisits four auteurs from the '70s--Steven Spielberg, Martin Scorsese, Roman Polanski, and Terrence Malick.
A history of movies not directly based on comic books but definitely inspired by them.
Women saving film criticism; The wonderfully unique Shailene Woodley; BuzzFeed hires Allison Wilmore as their first film critic; Revisiting George Lucas' American Graffiti; Sex in Pasolini films.
Odie Henderson launches our coverage of Oscar Memories from some of our most notable contributors.
An open letter from Woody Allen; an Edna Krabappel tribute; the possibility of a "Prometheus 2"; why film festivals reject good films; the return of "Black Angel" (the film meant to precede "Empire Strikes Back").
Triceratops never existed; Coppola and DePalma betwixt passions; 8 books every educated person should read; the Syrian rebel problem; The Last Temptation of Christ revisited; Herzog + Morris.
An amazing special Roger made with Gene Siskel in 1990, talking to Martin Scorsese, Steven Spielberg and George Lucas about the future of movies.
Edgar Wright, the director of "The World's End," talks about the dangers of nostalgia, his work on "Ant Man" and the amazing references some people think they see in his films.
Why you should always go to the funeral; six reasons why DVDs will survive; a 40th anniversary celebration of "Super Fly"; Dr. StrangeCinema's indictment of Spike Lee's Kickstarter campaign; on Buzzfeed's fatuous lists; Saul Bass' legendary movie posters; Siskel and Ebert's 1990 special about the "Future of the Movies."
Michael Mirasol muses on "Pacific Rim" and the strange antagonism to the film, and on its relationship to its inspirations.
Marie writes: Widely regarded as THE quintessential Art House movie, "Last Year at Marienbad" has long since perplexed those who've seen it; resulting in countless Criterion-esque essays speculating as to its meaning whilst knowledge of the film itself, often a measure of one's rank and standing amongst coffee house cinephiles. But the universe has since moved on from artsy farsty French New Wave. It now prefers something braver, bolder, more daring...