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

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The Beguiled

The kind of movie that lingers on in your head, just like the best fairy tales do.

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The Big Sick

Finds that laughter-through-tears sweet spot, often in the unlikeliest of places.

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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…

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Political Thumbnails 6/23/17

Special edition of Thumbnails with political articles: How to live with critics; Obama on the new health care bill; Trump says the poor can't be…

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The 'Innocence' of Martin Scorsese

NEW YORK -- The greatest living film director started out as a kid named Marty who I met in 1967 when he was fresh out of New York University. Now he is Martin Scorsese, the director even other directors would place first - after themselves, perhaps. No one has made more or better movies in the past quarter century, and few people have changed less. He still talks with his hands and bounces when he talks, and he uses the street-corner comedian's tactic of giving everything a punchline.

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The Learning Curve Of a Novice Director

You walk into the hotel room, and Robert Rodriguez slaps a video into the machine. "Here's the movie that let me know it was all possible," he says. "It's called 'Bedhead.' I shot it starring my brothers and sisters. It lasts eight minutes and cost me $800. That's how I knew I could make an 80-minute movie for $7,000."

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In film 'Mac,' John Turturro captures the certain nobility of everday life

At the very end of John Turturro's new film "Mac," after all of the credits have rolled, there is a scratchy tape recording from a telephone answering machine. "John? John?" a voice asks, and then the voice complains about the whole idea of answering machines. The voice belongs to Turturro's father, Nicholas, who died in 1988, and whose life as a construction worker and contractor inspired the film.

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A filmmaker with 'Passion'

Things might be easier, John Sayles sometimes thinks, if he were just starting out--if he had no track record. Then investors might be quicker to roll the dice by putting money into one of his movies. But he's made eight films, establishing himself as a leading (but not often profitable) independent director, and that makes it harder. That's why the success of his newest film, "Passion Fish," comes as such a relief.

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Elegant Role Model Could Not Be Typecast

She was, a critic once wrote, the last of the silent stars - because her eyes almost made it unnecessary for her to speak. She was a movie superstar for 20 years, but more than that, she was a role model: Teenage girls cut their hair like Audrey Hepburn's, and how many young women watched "Breakfast at Tiffany's" and decided that it would be wonderful to live in New York City?

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Harvey Keitel on the edge

The first time I saw Harvey Keitel in a movie marks, in a way, the beginning of my career as a film critic. It was November of 1967. I had been a reviewer for seven months, and was looking at "Who's That Knocking on My Door?," one of the entries in the Chicago Film Festival. It was a low-budget black and white film out of New York, directed by someone named Martin Scorsese and starring Keitel as a guilt-ridden kid from New York's Little Italy.

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Denzel Washington Puts Power Behind Oratory

NEW YORK -- Preaching in the words and style of Malcolm X, standing sometimes in the same places where he stood, Denzel Washington began to understand the man's power. "You get up in front of a hundred or a thousand people, and you go on this journey together, and you feed them this call-and-response style of preaching, and it's like a drug, a powerful drug," Washington told me, a few days before the film opened on Wednesday.

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By Any Means Necessary: Spike Uses His Clout

NEW YORK -- A week or two before the world press premiere of his film "Malcolm X," Spike Lee said he would prefer to be interviewed by African-American journalists, when possible. He never made a demand that only blacks talk to him, and he never said he wouldn't talk to whites. But most news reports gave that impression, and at least one giant Midwestern daily pulled its white movie writer off the assignment in a huff.

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Interview with William Friedkin

When he made his first movie, back in the mid-'60s, William Friedkin was such a foe of capital punishment, he took it as his subject. His documentary defended Paul Crump, a man on Death Row in Illinois. Friedkin didn't think he belonged there: "I thought he was innocent, but I remember seriously arguing with the family of his alleged victim that even if he was guilty, he shouldn't be killed - because he was now a different man than he was then."

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