The Zero Theorem
Terry Gilliam's first science fiction film since "12 Monkeys" is an inventively designed but oddly inert satire on technology, God and the future of humankind.
Scout Tafoya's series on critically reviled but substantive movies continues with Peter Bogdanovich's 1975 musical "At Long Last Love."
Contrived and formulaic but also sweet and brilliantly acted, "The Grand Seduction" is a comedy in the tradition of "The Full Monty" and "Billy Elliott," about a dying Newfoundland fishing town hatching in a complex deception to lure a petroleum plant.
This revision of "Sleeping Beauty" is clumsily directed, and the effects and backdrops are CGI soup, but there are also images of primordial power, and Angelina Jolie is haunting.
In honor of the twentieth anniversary of "Pulp Fiction" premiering at the Cannes Film Festival, here's a video essay about Quentin Tarantino's cool characters, and how they mythologize themselves.
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.