Following the journey of a dachshund as it is shuffled from owner to owner, Todd Solondz's Wiener-Dog is one of his sharpest visions of futility.
* 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 preview of dozens of films coming out this summer.
An interview with the hosts of the Black on Black Cinema podcast.
A recap of the 88th Annual Academy Awards.
An article about the 7th Annual African-American Film Critics Association Awards.
Reactions to to some of the 2016 Academy Award nominees.
A preview of the 73rd Golden Globes ceremony airing Sunday night, and some predictions.
Contributors to RogerEbert.com each list their favorite films of 2015.
An article on the 2016 Golden Globe nominees.
A report from AFI Fest on "Concussion" starring Will Smith.
The Oscar for Best Actor could come down to a battle between actors considered overdue for their first Oscar.
Anthony Daniels on "Star Wars VII"; History of Action-Movie Heroes; Love in the films of Jacques Démy; Emma Thompson on Trump; How Netflix could change the movie business.
An overview of the films that will be theatrically released in the 2015 fall season.
Sheila writes: Neurologist and author Oliver Sacks died on August 30 at the age of 82. The obituary in the New York Times gives an overview of this man's extraordinary career and contributions. The site Open Culture has a small post about Oliver Sacks' final Tweet which was a link to a video of a flash mob orchestra gathering to play Beethoven's "Ode to Joy" in a large public square. Sacks' Tweet read: "A beautiful way to perform one of the world's great musical treasures." His curiosity and appreciation of life in all its variety remained intact until the very end. Here is the video of that flash mob which is, indeed, "beautiful."
A guide to the latest releases on Blu-ray, DVD, and streaming, including Spring, Focus, Jupiter Ascending, and more!
Meet the critics attending Ebertfest 2015.
No universal "right age" for movies; Rise of Will power; Conversation with Madonna; Waitress anthropologist Candacy Taylor; Errol Morris as prosecutor.
Nell Minow responds to our Movie Love Questionnaire.
Major outlets call the man who assaulted America Ferrera at Cannes and Brad Pitt in Hollywood a "prankster." They're wrong to do so.
Gerardo Valero sees the potential for a good remake in "Escape from New York."
Marie writes: For those unaware, it seems our intrepid leader, the Grand Poobah, has been struck by some dirty rotten luck..."This will be boring. I'll make it short. I have a slight and nearly invisible hairline fracture involving my left femur. I didn't fall. I didn't break it. It just sort of...happened to itself." - Roger
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"Extraterrestrial" (90 minutes) premieres simultaneously on June 15th on DVD and all major on-demand platforms. It also opens June 15th in limited theatrical release.
If you've seen the 2007 thriller "Timecrimes," you already know that Spanish writer-director Nacho Vigalondo has a noteworthy knack for developing big ideas (in this case, time travel) on an intimate scale. "Timecrimes" marked a promising debut, with Vigalondo in full command of limited resources: With only three central characters and a tightly restricted location, he executed a cleverly conceived plot with stylish economy and Hitchcockian flair.
With his second film, "Extraterrestrial, " Vigalondo presents another, more intricate exercise in thwarting expectations. Imagine the bloated-budget excess of a blockbuster like "Independence Day," with dozens, maybe even hundreds of gigantic alien spaceships hovering ominously over Earth's major cities. Now take the same alien invasion scenario, eliminate 99% of the special effects and spectacle, and shift its focus to four lovelorn apartment dwellers in an abandoned city (in this case Madrid) as they proceed to confuse each other with a comedic succession of lies.
Now you've got "Extraterrestrial," in which the only E. T. is... well, I'm not going to spoil it for you, but here's a clue: Think of Vigalondo as the anti-Roland Emmerich. He has no apparent interest in epic battles requiring Will Smith to save the world against slimy, monstrous aliens. Instead, Vigalondo attempts an audacious bait-and-switch, keeping his "epic" sci-fi entirely in the background while focusing on what is, essentially, a farcical rom-com about three guys in love with the same woman. It's a daring attempt at genre-bending that doesn't always pay off, but it's a refreshing alternative to uninspired, play-it-safe blockbusters.
I find it easy and necessary to forgive the sources of my wounds. Most of them. I find it impossible, however, to forgive others for wounds inflicted upon my loved ones - especially my friends, siblings, children, and parents - even when the victims themselves are forgiving. But, most of all, I'm often imprisoned by my own remorse for the real and perceived impact my choices have had on others. Remorse is a vicious debt collector that knocks on the door to my heart on its own erratic schedule. Such is the case with Will Smith in Gabriele Muccino's "Seven Pounds" (2008).
Marie writes: I can't prove it but I'm convinced they're related.
Why not fold documentaries into my list of the "Best Films of 2011?" After all, a movie is a movie, right? Yes, and some years I've thrown them all into the same mixture. But all of these year-end Best lists serve one useful purpose: They tell you about good movies you may not have seen or heard about. The more films on my list that aren't on yours, the better job I've done.
That's particularly true were you to depend on the "short list" released by the Academy's Documentary Branch of 15 films they deem eligible for nomination. The branch has been through turmoil in the past and its procedures were "reformed" at one point. But this year it has made a particularly scandalous sin of