Freeheld stumbles over too many hurdles to recommend it. The film’s heart is in the right place, but its focus is not.
* 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 review of Ridley Scott's "The Martian," starring Matt Damon, Jessica Chastain, Jeff Daniels and Chiwetel Ejiofor.
A preview of the 40th Toronto International Film Festival
An overview of the films that will be theatrically released in the 2015 fall season.
To celebrate Roger's birthday, we picked some of our favorite reviews of films he loved.
The June 2015 installment of Bright Wall/Dark Room featuring an in-depth analysis of the controversy regarding "Zero Dark Thirty."
A piece on the latest and greatest Netflix, On Demand, and Blu-ray releases including "The Immigrant", "Interstellar", "A Most Violent Year", and more!
A look at recent releases on Netflix and Blu-ray, including "Life Itself," "Annie," "Into the Woods," "The Lady From Shanghai," and more.
Oscar's idling empathy machine; "Modern Family" episode filmed on smartphones; Madonna is superhuman; The trailer is not the movie; The works of Tyrus Wong.
A report from the 2015 Film Independent Spirit Awards.
A personal recap of the 2015 Critics Choice Movie Awards.
Predictions for the eight major categories in the 87th Annual Academy Awards.
A piece on the first wave of critics groups awards and some predictions for SAG and the Golden Globe nominees.
Retire the Disney Death; Seven problems with "Interstellar"; Cubicles on the rise; John Oliver is outdoing "The Daily Show"; Ernie Hudson is haunted by "Ghostbusters."
An interview with Jessica Chastain, star of "Miss Julie," opening tonight at the Chicago International Film Festival.
A preview of the 2014 Chicago International Film Festival.
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.
When Chaz has gone to Cannes without Roger in the past, she has written about the festival in the form of letters and postcards to Roger. These are the postcards she sends to him this year.
Between Two Ferns: Oscar Buzz Edition Part 2 from Zach Galifianakis
• As told to Roger Ebert
Al Pacino, Christopher Walken and Alan Arkin walk into a hotel room, and that sounds like the set-up for a joke. It's more like a long-delayed punchline. These guys have been stars for more than 40 years, but until "Stand Up Guys," they've all three never been in a movie together. Arkin and Pacino were in "Glengarry Glen Ross" together, and Walken and Pacino were both in "Gigli," but that's as far as it goes.
I mention they go way back.
"Yes, absolutely," Walken says. "I've known Al for decades, from New York and from, you know..."
"He didn't know I was an actor," Pacino says, "until we did this movie. He'd just see me around the street a lot."
The Oscars are the most important way the American film industry can honor what it considers the year's best work. But for millions of movie lovers all over the globes, they are something else: A show.
That's why I suspected last June that Quvenzhané Wallis might win a nomination. The pride of Hounduras Elementary School in Houma, LA, has now become, at nine, the youngest nominee in history for Best Actress. Her story is even better: She was five when she auditioned for the role, and six when she performed it.
Michael Haneke's "Amour," which won the Palme d'Or last May at Cannes, was voted Saturday the best film of 2012 by the prestigious National Society of Film Critics. The award, coming on the eve of voting for the 2013 Academy Awards, confirms "Amour" as a Best Foreign Film frontrunner. Other NSFC winners will also draw welcome attention.
by Roger Ebert
Osama bin Laden is dead, which everybody knows, and the principal facts leading up to that are also well-known. The decision to market "Zero Dark Thirty" as a thriller therefore takes a certain amount of courage, even given the fascination with this most zero and dark of deaths. (The title is spy-speak for "half past midnight," the time of bin Laden's death.)