300: Rise of an Empire
In comparison with "300", this insane film is more engaging by dint of being absolutely impossible to take even a little bit seriously.
Scott Jordan Harris picks his favorite piece of Roger's writing.
Anath White picks her favorite piece of Roger's writing.
Alfonso Cuarón's "Gravity," about astronauts coping with disaster, is a huge and technically dazzling film. But for all its stunning exteriors, it's mainly about what happens to the body and mind after catastrophe, and the moment when people decide to keep going or give up.
Book trailer for The Wes Anderson Collection, by RogerEbert.com editor Matt Zoller Seitz.
Why "Breaking Bad" viewers whitewash Walter White; Pandora just got worse for musicians; U.S. home care aides to be covered by labor laws; N.J.'s ban on self-serve gasoline; the world's first invisible tower; James Franco on all book covers.
This indie drama about a couple of Brooklyn stoners is less a story than a bunch of ideas or sketches on a theme, but writer-director Shaka King and his cast hold the viewer's attention through a combination of high spirits (pun intended) and phenomenal visual confidence. As a movie, it's iffy, but as a promise of things to come, it's worth seeing.
"Blue Caprice" gives serial killers the Sundance-style artfilm treatment. Directed by Alexandre Moors, it's a muted thriller based loosely on the so-called Beltway snipers, who terrorized the Washington, D.C. area and parts of Virginia for weeks in 2002. This is an intelligent and ambitious feature, but if Netflix had an "overthinking" it section, "Blue Caprice" would definitely qualify.
Treating never-before seen home movies by Nixon White House insiders as a visual spine for its tale, "Our Nixon" is an impressionistic account of the first American presidential administration to collapse in scandal.
The plot is nonsensical, the dialogue atrocious, the filmmaking mostly of-the-moment flashy, but the car chase thriller "Getaway" has a few great moments, and if there were an Oscar for wrecking police cars, it would definitely win.
From the archives: RogerEbert.com editor Matt Zoller Seitz reprints the first-ever profile of Wes Anderson and Owen Wilson, written for Dallas Observer in 1993