In Memoriam 1942 – 2013 “Roger Ebert loved movies.”



The multiple twists, double-crosses and leaps in logic are more likely to prompt giggles than gasps, despite the impressive production values and the earnest efforts…


Oasis: Supersonic

While Oasis: Supersonic is never boring, especially for fans, it’s also not quite deep enough to justify its narrow focus, especially at its overlong running…

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Ballad of Narayama

"The Ballad of Narayama" is a Japanese film of great beauty and elegant artifice, telling a story of startling cruelty. What a space it opens…

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* 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.

#278 June 14, 2016

Matt writes: Hello, Ebert Club subscribers! I'm Matt Fagerholm, Assistant Editor at, and I'll be taking over the Ebert Club newsletter. My inimitable predecessor, Sheila O'Malley, has gotten me up to speed on what you'll be expecting from this membership, and I'm very excited to provide you with a sneak peek at some of the most enticing titles in both current and classic cinema.

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#276 May 17, 2016

Sheila writes: The Cannes Film Festival is up and running and is there! You can check out's full coverage in the Table of Contents for the film festival. That post will be updated as more dispatches come in. There is video footage as well, including a memorable moment when Chaz Ebert asked a question at the "Money Monster" press conference. Finally, "Two Weeks in the Midday Sun," Roger Ebert's 1987 book about the Cannes Film Festival, was re-released in May, just in time for the 2016 festival. The re-release has a foreword written by Martin Scorsese, which you can read here.

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#272 March 9, 2016

Sheila writes: In Roger Ebert's Great Movies review of Martin Scorsese's "Taxi Driver," he writes: "The technique of slow motion is familiar to audiences, who usually see it in romantic scenes, or scenes in which regret and melancholy are expressed--or sometimes in scenes where a catastrophe looms, and cannot be avoided. But Scorsese was finding a personal use for it, a way to suggest a subjective state in a POV shotPOV of Scorsese's greatest achievements in 'Taxi Driver' is to take us inside Travis Bickle's point of view." I came across a wonderful video that shows Scorsese's storyboards for "Taxi Driver" alongside the actual filmed scenes.

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