Keanu is fun, and even sometimes outright hilarious, but it doesn’t live up to the skills of its central performers.
* 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.
An op-ed on how the decision to move the Lifetime Achievement Oscar off the telecast hurts us all.
Highlights of our 2015 interviews, including Brie Larson, Bryan Cranston, Jason Segel, Lexi Alexander, Sarah Silverman, Spike Lee, Tom McCarthy, Ramin Bahrani, Paul Feig, Charlie Kaufman and much more.
Assistant Editor Nick Allen tackles the Movie Love Questionnaire.
A chronological commentary celebrating the performances of Gena Rowlands.
An interview with "James White" director Josh Mond and star Christopher Abbott.
An interview with co-writer/director Tom McCarthy about "Spotlight."
A preview of the 2015 Chicago International Film Festival.
A review of HBO's "Show Me a Hero" with Oscar Isaac, Catherine Keener, Alfred Molina, Winona Ryder, Bob Balaban, and Jon Bernthal.
The movie questionnaire and 2015 reviews of RogerEbert.com film critic Godfrey Cheshire.
A list of the three-star reviews so far posted on RogerEbert.com this year.
Ben Kenigsberg reviews Arnaud Desplechin's lovable coming-of-age prequel "My Golden Days."
A piece on the latest and greatest Netflix, On Demand, and Blu-ray releases including "The Immigrant", "Interstellar", "A Most Violent Year", and more!
Boone and Henderson on "Dear White People"; Brody on "Birdman"; Serpico on the NYPD; Sragow on film criticism; Uhlich on "Citizenfour" and "Nightcrawler."
Catching up with Treat Williams and William Forsythe on the NYFF screening of and Blu-ray release of "Once Upon a Time in America."
Bob Fosse's masterpiece "All That Jazz" jumps back and forth through the past and the present, and through memory and fantasy, but it also collects the history of film editing in one story.
May 2014 Blu-rays of note.
Steve Erickson discusses James Gray's career with the director of the upcoming The Immigrant.
Haifaa Al-Mansour, Keith Stanfield, Matt Zoller Seitz and more discuss "Film & Cultural Politics" at Ebertfest.
Recent titles released on Blu-ray.
A blind critic shows us the light; The Wire and Juice; Death in television; Mac DeMarco and Salad Days; Teenage sexual promiscuity.
A video essay on Wes Anderson's second film "Rushmore," by Matt Zoller Seitz and Steven Santos. Second in a series of seven.
Ben Kenigsberg looks forward to the parallel programs at this year's Cannes Film Festival.
"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.*
Marie writes: As some of you may know, it was Roger's 70th birthday on June 18 and while I wasn't able to give the Grand Poobah what I suspect he'd enjoy most...
Siskel & Ebert fight over a toy train (1988)
Earlier this week Wesley Morris of the Boston Globe became only the fourth film critic to receive a Pulitzer Prize, after Roger Ebert (Chicago Sun-Times, 1975), Stephen Hunter (Washington Post, 2003) and Joe Morgenstern (Wall Street Journal, 2005).
A few other movie critics have been named as Pulitzer finalists -- Stephen Schiff (Boston Phoenix, 1983), Andrew Sarris (Village Voice, 1987), Matt Zoller Seitz (Dallas Observer, 1994), Stephen Hunter (Baltimore Sun, 1995), Peter Rainer (New Times Los Angeles, 1998), Ann Hornaday (Washington Post, 2008), A.O. Scott (New York Times, 2010) -- and I've read and admired many of them over the years.
I was first impressed by Morris's writing when he was in San Francisco, where he wrote for both the Chronicle and the Examiner, in the late 1990s. With him and Ty Burr on the movie beat, the Boston Globe now has one of the best critical teams around. And that's saying something: The New York Times team of A.O. Scott and Manohla Dargis is far and away the finest in that paper's history.
The Pulitzer submissions from Morris (who's only 36) covered films and subjects such as "The Help," "Mission: Impossible - Ghost Protocol," "The Tree of Life," "Drive," the "Fast and Furious" series, "Scream 4," "Weekend," "Water for Elephants," Sidney Lumet and Steve Jobs. A few excerpts to give you an idea of what earned him the prize: