Some of it is too broad, and I wish it dug a little deeper at times, but this is one of those rare inspirational films…
* 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.
I've never held a handgun in my life. I did some rifle target shooting with the ROTC in college. That's it with me and firearms. Does this make me less of an American? I think handguns are dangerous, and the more people who walk around carrying them the more dangerous they are. I also don't understand why civilians need to possess AR-15 assault rifles, such as the one used by James Holmes in Colorado. They fire 10 shots at a time, and are intended for combat use. In civilian hands, they are by definition weapons of slaughter. Do you need one in your home?
The best of the 2016-17 TV season in Emmy ballot form.
The staff pays tribute to Jonathan Demme.
A essay on Elvis Mitchell and his radio interview series, "The Treatment."
Martin Scorsese's "Taxi Driver" is coming back to theaters with a special Q&A featuring Scorsese, Robert De Niro, Jodie Foster and more.
A tribute to the life of a great young actor gone too soon.
A preview of dozens of films coming out this summer.
Roger's Favorites: directors Kasi Lemmons, Patty Jenkins and Kimberly Peirce.
An appreciation of Jonathan Demme's "The Silence of the Lambs" on its 25th anniversary.
A brief consideration of "Taxi Driver," still Scorsese's masterpiece.
Three films from TIFF 2015 starring Natalie Portman, Charlotte Rampling and Helen Mirren.
The movie questionnaire and 2015 reviews of RogerEbert.com film critic Peter Sobczynski.
The movie questionnaire and 2015 reviews of RogerEbert.com editor Brian Tallerico.
A report from the Athena Film Festival 2015.
Jennifer Kent directs the year's scariest movie; Best TV Shows of 2014; Lawsuit against NYFA; Why movies can't stop explaining themselves; Anna Kendrick on her new musicals.
An appreciation of Nastassja Kinski, on the occasion of a tribute to her at the Film Society at Lincoln Center from November 27-December 3, 2014.
The joy of "Orange is the New Black" comes in how it unfolds, the ways the writers and performers constantly defy expectations.
A study on when a joke is too soon; Jim Rebhorn writes his own obituary; Disney makes an acquisition; Sudden death in The Good Wife; An Iranian cinema podcast begins.
Writer Brian Tallerico responds to our Movie Love Questionnaire.
Critics Christy Lemire, Sheila O'Malley and Susan Wloszczyna talk about 1980s cult film "Ms. 45" on the occasion of a re-release.
Writer Peter Sobczynski responds to our Movie Love Questionnaire.
Extraterrestrial life may really exist; House Republicans slash billions in food stamps; "Invisible Man" banned in North Carolina; an object of Internet ridicule speaks; Hollywood luminaries who got their start with Roger Corman.
Ryan Amon talks about the YouTube video that led to his first feature film score, in this week's "Elysium," directed by Neill Blomkamp ("District 9") and starring Matt Damon and Jodie Foster.
Marie writes: I've been watching a lot of old movies lately, dissatisfied in general with the poverty of imagination currently on display at local cinemas. As anyone can blow something up with CGI - it takes no skill whatsoever and imo, is the default mode of every hack working in Hollywood these days. Whereas making a funny political satire in the United States about a Russian submarine running aground on a sandbank near a small island town off the coast of New England in 1966 during the height of the Cold War - and having local townsfolk help them escape in the end via a convoy of small boats, thereby protecting them from US Navy planes until they're safely out to sea? Now that's creative and in a wonderfully subversive way....
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...