Heaven Is for Real
Faith-based film tries reaching past its audience, but falls back on preaching to its own choir way too much.
* 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.
Chaz writes to Roger about attending the Oscars without him.
Far Flung Correspondent Anath White reports from the Santa Barbara International Film Festival.
What were the surprises, snubs and twists of today's Oscar nominations?
An exhaustive list of Top 10s by RogerEbert.com contributors.
Missing Roger's Oscars prognostications and his top ten lists. And making a list of my own.
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?
Sheila writes: Todd Sanders is a self-taught neon sign artist. Roadhouse Relics, the gallery of his work in Austin, Texas, is filled with his beautiful vintage-inspired signs. His designs are all hand-drawn. He collects old magazines from the 1920s, 1930s, etc., to get inspiration for his neon signs. He does custom signs as well. You can check out Sanders' work, bio, and press kit at Roadhouse Relics. Neon brings up all kinds of automatic images and associations: seedy hotels, burlesque joints, cocktail bars. His signs evoke those images, but much more. For instance, look at his beautiful "Fireflies In a Mason Jar".
Now that the Cannes Film Festival is over, critics Ben Kenigsberg and Michał Oleszczyk take a look back over the festival.
Barbara Scharres reports on the winners at the Cannes Film Festival.
Bruce Dern and Will Forte reminisce about their father-son road trip in Alexander Payne's "Nebraska."
Alexander Payne's "Nebraska" brings black and white, to the competition, while "Omar" delivers moral shades of gray to the Palestinian/Israeli conflict and "Michael Koolhaas" looks good in the long shots, but needs more emotional subtlety.