Victoria & Abdul
There are multiple pleasures to be had by witnessing a powerful, still-vital woman finding unexpected late-life joy of the platonic variety.
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.
Blood on the drum kit.
An interview with experimental filmmaker Mark Rappaport.
A remembrance of critic Scott Schuldt, who blogged under the name Ed Copeland.
"Yeah, well, sometimes nothin' can be a real cool hand."
An appreciation of the late, great cinematographer, documentarian and activist Haskell Wexler, plus a transcript of his 2013 conversation about his work on Terrence Malick's "Days of Heaven."
"Who is the National Board of Review, anyway?" is the question. The answer: one of the few major awards groups that's routinely capable of surprise.
Matt Zoller Seitz reviews and reflects upon Jesse Eisenberg's New Yorker piece about film critics.
A quick meal of red meat.
All back, no future.
Everything the writer could write about John Carpenter's original fright-fest in a half-hour.