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

RogerEbert.com

Thumb_while_were_young

While We're Young

While We’re Young searches for the blurry line we all cross once we’ve entered middle age, finds it and tramples all over it, but it…

Thumb_feher_isten_ver2

White God

Imagine an "R" rated "Lassie" by way of "Spartacus." That's Kornél Mundruczó's "White God," a brutal but stirring fantasy about street dogs rising up against…

Other Reviews
Review Archives
Thumb_xbepftvyieurxopaxyzgtgtkwgw

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…

Thumb_jrluxpegcv11ostmz1fqha1bkxq

Monsieur Hire

Patrice Leconte's "Monsieur Hire" is a tragedy about loneliness and erotomania, told about two solitary people who have nothing else in common. It involves a…

Other Reviews
Great Movie Archives
Other Articles
Far Flunger Archives
Other Articles
Channel Archives

Contributors

Matt Zoller Seitz

Matt Zoller Seitz

Matt Zoller Seitz is the Editor-in-Chief of RogerEbert.com. He is also the TV critic for New York Magazine & Vulture.com, and a finalist for the Pulitzer Prize in criticism.

A Brooklyn-based writer and filmmaker, Seitz has written, narrated, edited or produced over a hundred hours’ worth of video essays about cinema history and style for The Museum of the Moving Image and The L Magazine, among other outlets. His five part 2009 video essay Wes Anderson: The Substance of Style was later spun off into the hardcover book The Wes Anderson Collection. Seitz is the founder and original editor of The House Next Door, now a part of Slant Magazine, and the publisher of Press Play, a blog of film and TV criticism and video essays. He is the director of the 2005 romantic comedy "Home" and the forthcoming science fiction epic "Rabbit of the Sith." He is currently writing memoir titled "All the Things that Remind Me of Her."

Reviews Filter Show Filters | Reset Filters

1914
2015
0
4.0
Widget_1xhk6o9re7godwsywy9dokwtkjx
Get Hard

(2015)

Widget_feher_isten_ver2
White God

(2015)

Widget_large_hkknijswxctghaghassq9v8vwyp
Jauja

(2015)

Widget_large_gqwpmbi8yfg235kayejugw0edgo
Danny Collins

(2015)

Widget_mv5bmta0mdmzmzu2odjeqtjeqwpwz15bbwu4mdqxmte4ntqx._v1__sx1216_sy712_
Merchants of Doubt

(2015)

Widget_maps_to_the_stars_ver8
Maps to the Stars

(2015)

Missing-poster-widget
Approaching the Elephant

(2014)

Widget_gett_ver2
Gett, the Trial of Viviane Amsalem

(2015)

Widget_pcfjsiqq66ccj65bntxeekf4fhe
Da Sweet Blood of Jesus

(2015)

Widget_large_ahzzdlujzka1ddmn4513hnidxyp
Matt Shepard Is a Friend of Mine

(2015)

Widget_large_9d1a46tkf44r6rej1mxzhhtuqxt
Jupiter Ascending

(2015)

Widget_mv5bmtyymze2nte5mv5bml5banbnxkftztgwndi3odi2mze_._v1__sx1259_sy630_
Black or White

(2015)

Widget_mv5bmjmynzi1oda3of5bml5banbnxkftztgwmti5otczmze_._v1._cr54_54_1274_1940__sx1216_sy712_
Black Sea

(2015)

Widget_human-capital-poster
Human Capital

(2015)

Widget_mv5bmtg1nduymzk5nv5bml5banbnxkftztgwotk1nzuxmze_._v1__sx1216_sy712_
Blackhat

(2015)

Widget_large_4pnkdfhwodjd1m15s7sxxa248vu
The World Made Straight

(2015)

Widget_lgu9dugqz9el4vfpxgppdwiuxuc
A Most Violent Year

(2014)

Widget_oax1ohn3ltgrf3vlh5ff28w0yjn
Mr. Turner

(2014)

Widget_hkvkhuuugjj4jrxkkvqoq5jnqx5
Annie

(2014)

Widget_if-you-don-t-i-will
If You Don't, I Will

(2014)

Widget_hs4dihmospejjih6vat3z0emzpi
Inherent Vice

(2014)

Widget_4vvzn6r0qva8rujhtfablblagq9
Remote Area Medical

(2014)

Widget_do6uepmvq7vddj8qztqepa3ferw
Dying of the Light

(2014)

Widget_fsv20qm1ucmaragkffwyrd0zqpl
The Hunger Games: Mockingjay - Part 1

(2014)

Thumbnails 8/17/2013

Primary_screen_shot_2013-08-16_at_11.37.58_pm

Hating "strong female characters"; the casual racism of "Orange is the New Black"; Linda Lovelace is not a porn star; why the Russian Olympics boycott won't help gays; inside the Texas tradition of enormous homecoming corsages; Donald Glover's new art film; Hal Hartley's must-see moments

Continue reading →

Thumbnails 8/2/2013

Primary_lesblankdoc

"Edward Snowden and the Politics of Privacy." By Adam Liepzig, for Cultural Weekly. The author decries the National Security Agency's "data dragnet" and argues that "right to personal secrecy—you can also call it privacy—is fundamental to our ability to innovate.""Many Americans seem complacent about the NSA's over-reach. They say: 'So what? The NSA has been gathering all of our data for the past decade, and nothing bad has happened.' This argument relies on the conviction that our government is benevolent and will always be that way. I'm not prepared to make that assumption. In America's living memory, we have the blacklists of the 1950s. In the 1960s and 1970s, the FBI's COINTELPRO program launched operations against so-called "radicals" and falsified evidence against them. At times, this evidence wasn't designed to bring a criminal conviction. It was designed simply to be made public, to smear the reputation of the target.""What is Decadism? An explanation and a Top 10 List." At Press Play, Lucy Ives writes about "an American invention"..."a dependence on the decade—as a time-keeping unit and also as a way of thinking about changing cultural mores and aesthetics." Then she lists ten films that practice their own version of Decadism."Decadism is now not merely a sign of nostalgia for the decade in question. It's a sign of nostalgia for decade-based fashion and thinking in general, for a system for organizing tastes based on the notion of the decade. In this sense, though the word 'decade' (from the Greek for 'ten') is etymologically unrelated to the term 'decadence' (associated with 'decay'), decadism is rapidly replacing decadence as a kind of gently reactionary aesthetic and experiential mode. We live in a time of archive fever, of historical tourism (from Wikipedia to Drunk History Month), of 'favoriting' and all the other preferential tools the Internet holds. Decadism allows us a return to a less particulate, niche, complex, and incessantly updated way of establishing taste. Decadism is a respite—not just from the present but from the future.""A Redesign of the Subway Map, by One of Its Designers." James Barron of The New York Times talks to John Tauranac, one of the designers of the current subway map, first released in 1979, about how it could be improved. Fascinating stuff if you've ever visited New York. Unfortunately the graphic accompanying this story is a bit too small to really see details, but hopefully by the time you read this the paper will have made a larger graphic available."Mr. Tauranac said he was still trying to redress 'problems' that are now 40 years old, dating to the official map that preceded the 1979 map. That earlier map, the one that many found to be aesthetically pleasing, was somewhat lacking in precision. 'There was no attempt to show geographic perspective on that map," Mr. Tauranac said. "Broadway at 50th Street was shown west of Eighth Avenue.…Bowling Green was north of Rector Street," he added. "If you get out of the subway thinking Bowling Green is north of Rector Street, how are you going to find Rector Street?""Some newly surfaced films confirm late documentarian Les Blank as a restless, one-of-a-kind talent." Over at The Dissolve, Sam Adams looks at some lesser-known later works by the man who so memorably chronicled Werner Herzog shooting "Fitzcarraldo" in the documentary "Burden of Dreams." What Adams discovers is a filmmaker of eccentric charms who was fascinated with people's odd obsessions, whether that was Herzog making a film about dragging a ship over a mountain, or people who love garlic."In Les Blank’s movies, everyone is a philosopher, and everyone’s an expert, at least on the subject of themselves. He loved the mass jubilation of public celebration and the rich, earthy tones of 16mm stock. And to judge by the way the image recurs in several of his films, he especially loved to zoom in close on a hot, bubbling skillet, so close that it seems as if his camera might get deep-fried along with the chicken.""Red Skull is Red, Smurfette is Blue." Over at Slate.com, the amazing team of Natalie Matthews-Ramo, Brahna Siegelberg, Jeremy Singer-Vine, Isabel Slepoy, and Forrest Wickman has put together an entire color wheel using animated characters for the colors of the rainbow. We want to party with these people."We at Slateare lovers of all colors of cartoon peoples, from the yellow figures of The Simpsons to the frequently blue and green heroes of the Marvel Comics Universe, and so we wanted to champion the full diversity of the animated world. In the interactive graphic below you'll find the complete rainbow of cartoon characters, from Pink Panthers to Grape Apes to red, well, whatever Zoidberg is. You'll notice a few fleshy humanoids, too."Image of the Day"A Handy Guide to How to Create a Hipster Logo" Anthea Quay provides some droll, dead-on advice about logos at Designtaxi.com.

Continue reading →

In a heartbeat: "28 Days Later" revisited

Primary_28-days-later-28-days-later-32064517-1200-768

"28 Days Later" might be one of my favorite films. It's not as politically or satirically ambitious as George Romero's zombie pictures, but as a visionary piece of pure cinema—a film that, to paraphrase Roger, is more about how it's about things than what it's about—I think it's unbeatable. A classic.

Continue reading →

A house made of candy: On "Despicable Me 2," slapstick and single parenthood

Primary_dm_2

I won't make any grand claims for the "Despicable Me" films as art, but I adore them anyway. There's something appealingly relaxed and confident about them. They don't quite look, move or feel like any other blockbuster animated cartoons, yet they never seem to be trying too hard. And they're the best portrait of single parenthood I've seen outside of "Louie."

Continue reading →

Cut to Black: "The Sopranos" and the Future of TV Drama: Table of Contents

Primary_sopranos_-_season_6.2_-_gandolfini__falco___iler

Table of contents for "Cut to Black," a discussion of The Sopranos' ending and the future of TV drama; contains links to all six episodes, plus transcripts. Participants include RogerEbert.com editor and New York Magazine critic Matt Zoller Seitz, Huffington Post TV critic Maureen Ryan, A.V. Club TV critic Ryan McGee, and previously.tv contributor Sarah D. Bunting. And yes, they do get into whether Tony got whacked.

Continue reading →

Cut to Black: "The Sopranos" and the Future of TV Drama, Part 6

Primary_screen_shot_2013-06-24_at_3.07.35_pm

Part 6 of "Cut to Black," a videotaped roundtable discussion about the end of The Sopranos and the future of television drama. Participants include RogerEbert.com editor and New York Magazine critic Matt Zoller Seitz, Huffington Post TV critic Maureen Ryan, A.V. Club TV critic Ryan McGee, and previously.tv contributor Sarah D. Bunting. The program was shot and edited by Dave Bunting, Jr.

Continue reading →