American Sniper proves the dictum “never count an auteur out” by proving itself as Eastwood’s strongest directorial effort since 2009's underrated Invictus pretty much right…
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."
The double-standard of "Louie" vs. "Girls"; feminist revenge fantasies; why foreign language films are on a downward slope; putting the geek to the plow.
Why aren't superhero movies more special?
Some useful advice to young critics.
RogerEbert.com editor-in-chief Matt Zoller Seitz announces his next director book, about Oliver Stone.
The most important thing Roger Ebert taught me.
Owen Gleiberman's sacking as lead film critic of Entertainment Weekly — part of a ritual bloodletting of staffers at the magazine – marks the end of an era.
Matt Zoller Seitz goes in-depth with author Mark Harris about his book on five directors who aided the war effort in World War II.
Why film critics should write about filmmaking.
A half-hour documentary about David Milch's Western drama "Deadwood," which premiered ten years ago this week on HBO. Written by Matt Zoller Seitz, edited by Steven Santos, narrated by Jim Beaver.
A video from Nelson Carvajal muses on film's depiction of television as the nightmare medium.