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This is one of the best films of 2015.

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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…


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…

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Olivia Collette

Olivia Collette

Olivia Collette has been deconstructing movies since she realized some of her friends were willing to humor her. She has a thing for Laxmi Chhaya dance routines, a crush on Fellini, and a non-negotiable fear of zombie flicks. Based in Montreal, Olivia has written for various print and online publications, including the Montreal Gazette, World Film Locations: San Francisco, Sparksheet, Indiewire’s Press Play blog and the Spectator Arts Blog. She discusses pop culture at Livvy Jams and dissects our inconsistent obsession with body image on The Scrawn. If you see Olivia at Ebertfest, make sure to have your song ready, because she’s totally dragging you to Karaoke.

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A Hijacking


Laurence Anyways


Out of the frying pan and into more Orcs


Some people hate "Dune" because it's nothing like the novel, but venerate "The Shining" for the same reason. You can't please everyone when you adapt a book to film, so you're better off hoping you'll please anyone. Even if it's just a handful, it's those few who will be your fiercest defenders against the purists. So let's start with what Peter Jackson's "The Hobbit" isn't: If you read the book, it's not the book you read. It includes plot elements from "The Hobbit," details that weren't fleshed out in "The Lord of the Rings" movies, bits from the "LOTR" appendices, and stuff that was created for the sake of this new trilogy.

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What Makes a Really Good Bad Guy

May Contain Spoilers

I realize I'm a minority on this one, but I actually liked Bane for much of "The Dark Knight Rises." Even with most of his beautiful face covered up, Tom Hardy has a talent for effective physical acting. Each time Bane entered a room, he would clutch his collar, forming two fists that seemed to guard his chest. In that simple gesture, he established a commanding presence while subtly implying a defensive pose, his hands near his weak spot, poised to protect the mask.

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