Live by Night
The key question behind Live by Night isn’t so much “Why did they bother?” as “What went wrong?”
The key question behind Live by Night isn’t so much “Why did they bother?” as “What went wrong?”
The feature debut of director and co-writer Bill Purple does not feature a single authentic moment. Imperfect would actually be a step up.
Roger Ebert on James Ivory's "Howards End".
"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…
Meryl Streep and other awards recipients shared their thoughts on an America under Donald Trump during last night's Golden Globes ceremony.
"La La Land" made Golden Globes history last night with seven awards, including Best Picture (Comedy/Musical).
Molly Haskell speaks with Matt Zoller Seitz about "From Reverence to Rape," "Love and Other Infectious Diseases," "Steven Spielberg: A Life in Films" and more.
For the 37th installment in his video essay series about maligned masterworks, Scout Tafoya examines Michelangelo Antonioni's "Zabriskie Point" and "The Mystery of Oberwald."
FFC Seongyong Cho explores Frederick Wiseman's 2014 documentary, "National Gallery."
The forces behind San Diego Comic-Con have launched a new con-centric channel, featuring "Kings of Con," "Con Man" and "Mark Hamill's Pop Culture Quest."
The work of the late author, writer and director William Peter Blatty will continue to haunt the dreams of readers and moviegoers for generations to…
A review of Paolo Sorrentino's "The Young Pope," starring Jude Law, Diane Keaton and James Cromwell.
Chaz is the Publisher of RogerEbert.com and a regular contributor to the site, writing about film, festivals, politics, and life itself.

Roger’s review of “Mr. Magoo”.
Why did I choose this piece of writing?
Asking a lifelong devotee of Roger Ebert’s written criticism what his or her favorite review would be is sort of like asking Hitchcock to name his favorite blonde or Michael Bay to identify his favorite explosion. It simply cannot be done. I can, however, specify the one Ebert review that I actually know by heart. It wasn’t a conscious effort on my part to commit his half-star review of Stanley Tong’s miserable 1997 vehicle for Leslie Nielsen, “Mr. Magoo,” to memory. It just happened naturally after spending countless hours devouring Ebert’s indispensable compilation, “I Hated Hated Hated This Movie.” When a film would fail to entertain or enlighten, Ebert would supply copious amounts of entertainment and enlightenment in his cathartic analyses. The worse the film, the funnier the critique. Looking at this hilariously scathing review again, I’m amazed by just how many laughs he manages to squeeze into 444 words. Having been a fan of the “Naked Gun” pictures (as was I), he likely entered the theater expecting to at the very least crack a grin. Alas, it was not to be. “There is not a laugh in it,” Ebert writes in astonishment, “Not one. I counted.” Anytime I’m asked why I love Ebert’s writing, I quote any given passage of this review and find that it earns appreciative guffaws every single time, especially when I recite the final paragraph, when the cheerfully sardonic critic reveals the only thing in “Mr. Magoo” that did indeed make him laugh. It’s a hoot.
Next Article: CIFF 2014 Introduces The Roger Ebert Award Previous Article: Last Day to Fund Ella Jenkins Documentary
This message came to me from a reader named Peter Svensland. He and a fr...
A look at highlights from the career of the great Peter Cushing.
Meryl Streep and other awards recipients shared their thoughts on an America under Donald Trump during last night's G...
For the 37th installment in his video essay series about maligned masterworks, Scout Tafoya examines Michelangelo Ant...