Like Ficarra and Requa’s 2011 comedy Crazy Stupid Love, Focus begins promisingly and bops along enjoyably for a while, only to run out of steam…
Richard Linklater discusses the release of Bernie Tiede and the production of "Boyhood."
Robert Yeoman, the cinematographer on all of Wes Anderson's features, talks about the example of the great Gordon Willis, who died this weekend at 82.
RogerEbert.com editor-in-chief Matt Zoller Seitz will cowrite an anthology covering the most significant TV shows, in collaboration with his old Star-Ledger colleague Alan Sepinwall, author of "The Revolution was Televised."
This inept comedy about a stoner lapsing into apocalyptic reveries on the day of his wedding is a couple of notches above a home movie.
It's less interested in a giant monster's destructive progress than in what it might feel like to be a tiny human watching it close up, or far away, or on TV.
A tribute to Swiss surrealist H.R. Giger, designer of the titular creature of the "Alien" series.
Atom Egoyan's retelling of the true-life story of the West Memphis child murders feels like a respectful, intelligent afterthought.
Why aren't superhero movies more special?
Scout Tafoya's latest edition of "The Unloved" makes the case for William Friedkin's "Sorcerer," a 1977 box office bomb that is already coming in for critical re-evaluation.
Some useful advice to young critics.