Pirates of the Caribbean: Dead Men Tell No Tales
Been there, plundered that.
Matt Zoller Seitz is the Editor-in-Chief of RogerEbert.com. He is also the TV critic for New York Magazine and Vulture.com, and a finalist for the Pulitzer Prize in criticism. His writing on film and television has appeared in The New York Times, Salon.com, The New Republic and Sight and Sound. Seitz is the founder and original editor of the influential film blog The House Next Door, now a part of Slant Magazine, and the co-founder and original editor of Press Play, an IndieWire blog of film and TV criticism and video essays.
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, Salon.com and Vulture, among other outlets. His five-part 2009 video essay Wes Anderson: The Substance of Style was spun off into the hardcover book The Wes Anderson Collection. This book and its follow-up, The Wes Anderson Collection: Grand Budapest Hotel were New York Times bestsellers.
Other Seitz books include Mad Men Carousel: The Complete Critical Companion, The Oliver Stone Experience, and TV (The Book). He is currently working on a novel, a children's film, and a book about the history of horror, co-authored with RogerEbert.com contributor Simon Abrams.
A review written in 60 minutes about "John Wick: Chapter Two."
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.
Nothing is as it seems in this thriller, including the meaning of the color periwinkle.
I see a movie almost every year on my birthday; some are better than others.
Peet Gelderblom has a new video essay comparing Brian DePalma and Alfred Hitchcock, shot by shot and moment by moment.
Psychedelia with a smile.
Walter Chaw revisits Oliver Stone's 1981 horror film "The Hand" and explores the director's fascination with nightmares and the uncanny.
Grateful for a scrap of melody.
None of them are getting out of there alive.
Still grimly funny and bracingly nasty after nearly fifty years, this is a world-weary anti-authority comedy fronted by Lee Marvin's knife-blade face.