Emotionally charged, viscerally exciting and consistently enlightening, Gabe Polsky’s Red Army is a sports documentary like no other.
* 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 holiday gift guide compiling RogerEbert.com's book excerpts from 2014.
Stuart Acher caught Roger Ebert's attention at Sundance 15 years ago. We caught up with him.
A tribute to Leonard Maltin by RogerEbert.com's writers, on the occasion of his reference book Leonard Maltin's Movie Guide ceasing publication after 45 years.
Why jazz sucks; The effects of dwindling film stock; What "Planet of the Apes" says about the state of the world; Harry Shearer as Richard Nixon; The drawbacks of "liking" on Facebook.
An excerpt from "Robert De Niro: Anatomy of an Actor" by Glenn Kenny.
Advice for Journalists and writers of color; the virtues and pitfalls of tossing brickbats online; 'Eyes Wide Shut' at 15; 'Pickpocket' on Blu-ray.
Apologizing for the Manic Pixie Dream Girl; what to do about clickbait web sites that pretend to peddle "satire"; why it's important to give credit; "24: Live Another Day" ends its run.
The director and subject of "Barbaric Genius," now available on iTunes.
An introduction to and examination of Kevin B. Lee's "Transformers: The Premake."
Why critics keep getting laid off; about That Episode of "Louie"; Robert DeNiro, anatomy of an actor; classic cars on film, posterized.
Sheila writes: Sports fans and ice dance enthusiasts are all focused on Sochi right now for the Winter Olympics. The Olympics always comes with some strain of controversy, and Sochi has been more intense than most. I came across a post about Sochi's well-known history as the "Florida of Russia", where Stalin himself would summer. His vacation home still stands. Messy Nessy Chic has a post with a lot of great images of that vacation home as well as vintage photographs of the holiday resort in its heyday: Postcards from Sochi: Summering with Stalin.
A career view on Bill Murray; Personally connecting to Her; An editor from The New Yorker waxes poetic on aging, intimacy and death; Long takes on television; and a Hollywood desert land.
Glenn Kenny champions Lupita Nyong'o for Best Supporting Actress of 2013.
Writer Glenn Kenny responds to our Movie Love Questionnaire.
Post-Beatles Beatles movies; heroin and creativity; Terry Gilliam's life in 8 movies; Hannibal's food stylist.
Remembrances of Philip Seymour Hoffman.
Cohen Media Group has made a name for itself as a boutique DVD and Blu-ray label, bringing overlooked and under-appreciated works of cinema to new audiences.
Sheila writes: Pardis Parker's “The Dance” is a 10-minute short film that just won the Best Comedy from the National Screen Institute of Canada. Parker is the lead actor as well as the director and writer here, and the entire thing is done silent movie style. I love the detail he has written on his own calendar: "She loves matching outfits", which then explains his get-ups. It is a touching and funny short film, and I am so happy to pass it on!
An exhaustive list of Top 10s by RogerEbert.com contributors.
Writer Simon Abrams responds to our Movie Love Questionnaire.
Brian Doan wonders if Mark Cousins' "The Story of Film," showing over 15 weeks on TCM this fall, deserves all the praise it has received.
One detail of a film—say, the anklet worn by Barbara Stanwyck in "Double Indemnity"—can tell us more than you might think.
Words, images and videos worth knowing about.
OK, this is where it really gets interesting. Forget the consensus Top 50 Greatest Movies of All Time; let's get personal. Sight & Sound has now published the top 250 titles in its 2012 international critics poll, the full list of more than 2,000 movies mentioned, and all the individual lists of the 845 participating critics, academics, archivists and programmers, along with any accompanying remarks they submitted. I find this to be the most captivating aspect of the survey, because it reminds us of so many terrific movies we may have forgotten about, or never even heard of. If you want to seek out surprising, rewarding movies, this is a terrific place to start looking. For the past few days I've been taking various slices at the "data" trying to find statistical patterns, and to glean from the wealth of titles some treasures I'd like to heartily recommend -- and either re-watch or catch up with myself.
I know we're supposed to consider the S&S poll a feature film "canon" -- a historically influential decennial event since 1952, but just one of many. I don't disagree with Greg Ferrara at TCM's Movie Morlocks ("Ranking the Greats: Please Make it Stop") when he says that limiting ballots to ten all-time "best" (or "favorite," "significant," "influential" titles is incredibly limiting. That's why I think perusing at the critics' personal lists, the Top 250 (cited by seven critics or more) and the full list of 2,045 films mentioned is more enjoyable pastime.
It's wise to remember that, although the top of the poll may at first glance look relatively conservative or traditional, there's a tremendous diversity in the individual lists. Even the top vote-getter, "Vertigo," was chosen by less than one quarter of the participants.
"All of us will always owe him everything." -- Glenn Kenny on Andrew Sarris, quoting Jean-Luc Godard on Orson Welles
Andrew Sarris, "who loved movies" (as Roger Ebert described him), was long considered the "dean of American film critics." Reading the accounts and appreciations of him today, I was surprised to see how many people perpetuated the myth that Sarris and Pauline Kael were like the print era's Siskel & Ebert who, instead of facing off with each other over new movies on TV week after week, carried on a robust public debate about auteurism and film theory for decades. That didn't happen. And that mischaracterization does a disservice to Sarris, to Kael and to Siskel & Ebert, all of whom were taking their own distinctive and original approaches to movie reviewing and criticism. I think what's most important on the occasion of Sarris's passing is to acknowledge that his substantial critical legacy cannot be defined in terms of anything Pauline Kael wrote about him and the politique des auteurs in 1963 -- and certainly not in the way his and the Cahiers du Cinema critics' views were misrepresented in Kael's famous snipe, "Circles and Squares: Joys and Sarris."
Let's get this straight: Sarris, who had spent some time in France and acquainted himself with the Cahiers du Cinema critics (Andre Bazin, Godard, Truffaut, Chabrol, Rivette, Rohmer, et al.), published an essay in Film Culture called "Notes on the Auteur Theory in 1962" (download .pdf here). In it he set out to explain the French notion of what he called "auteurism" for an American audience.*