Amarcord
Screenplay by
Fellini
Fellini
Fellini Movie Reviews
Blog Posts That Mention Fellini
The Essential Fellini is a Wonderful Gift for Cinephiles
Fellini’s Outrageous “Roma” Restored on Criterion Blu-ray
I could watch a Fellini film on the radio
Fellini, Zanussi, Altman, Frances
Fellini remembers: “My little poem”
Interview with Federico Fellini
Cannes 2026: Colony, The End of It, Roma Elastica
Christy Lemire Bids a Fond Farewell to RogerEbert.com
Their Show Cracked Open the World: Siskel & Ebert Memories
NYFF 2025: The 63rd Edition Comes to a Close
The Most Beautiful Italian Girl in Tunisia: Claudia Cardinale (1938-2025)
One Final Look: Terence Stamp (1938-2025)
Book Excerpt: Foreword to The Wes Anderson Collection: Asteroid City by David Bordwell
This is Just the Beginning: Pamela Anderson on “The Last Showgirl”
December 2024 Blu-Ray Guide: “The Wild Robot,” “Conclave,” “Alien: Romulus,” More
The Best Films of 2024
Netflix’s The Decameron Sinks to New Lows
Levan Akin on Making Films His Way, the Queer Art That Shaped Him, and His Touching New Drama Crossing
A Force For Good: Richard Simmons (1948-2024)
Donald Sutherland: The Consummate Character Actor
The Ebert Fellows Go to Ebertfest 2024
I’ve Never Seen Anything Like It Before: Roger Corman (1926-2024)
A Man Goes to the Movies: An Appreciation of Roger Ebert’s Top 10 Lists
On Luca, Tenet, The Invisible Man and Other Films from the Early Pandemic Era that Deserve More Big-Screen Time
Female Filmmakers in Focus: Alice Rohrwacher on La Chimera
Art Takes You Prisoner: Radu Jude on Do Not Expect Too Much from the End of the World
True To Yourself: James Gray on James Gray’s New York
Welcome to Chicago, Michał Oleszczyk!
Staying Connected: Gelila Bekele and Armani Ortiz on Maxine’s Baby: The Tyler Perry Story
Streetcorner Symphony: The Music of Mean Streets
Their Show Was the Gateway: Matt Singer on His New Book, Opposable Thumbs: How Siskel & Ebert Changed Movies Forever
MOMA Launches Iranian Cinema Before the Revolution, 1925-1979
NYFF 2023: Highlights of the First Week of the Fest Include New Todd Haynes, Nuri Bilge Ceylan
KVIFF 2023: A Yasuzô Masumura Retrospective
Cannes 2023 Line-up Includes Wes Anderson, Martin Scorsese, and Many More
Michael Kutza Details Legacy of Chicago International Film Festival in Starstruck
Bright Wall/Dark Room June 2022: Most Wonderful by Nathaniel Missildine
Roger’s Top Ten Lists: Best Films of 1973
Our Favorite Roger Reviews: La Dolce Vita
Home Entertainment Guide: December 2021, The Criterion Collection
A Director Who Had Fun: Lina Wertmüller (1928-2021)
Home Entertainment Guide: November 2021
Bright Wall/Dark Room November 2021: Why You Want to Leave Me? by Steph Green
A Preview of the 57th Chicago International Film Festival
NYFF 2021: Songs for Drella, Marx Can Wait, Il Buco, Belle
Enter the World of Wong Kar Wai with One of Criterion’s Best Box Sets
The Annotated Table of Contents for Women Writers Week 2021
Giuseppe Rotunno: 1923-2021
Being Human Is Heroic: Melora Walters on Waterlily Jaguar, Drowning, Magnolia and More
Stirring the Pot: Glenn Kenny on His New Goodfellas Book
Meet the Writers of Women Writers Week 2020
Rob Garver on What She Said: The Art of Pauline Kael
Joker: Dark Phoenix
Five Questions from Once Upon a Time … in Hollywood
I Get a Kick Out of Entertaining People: Robert Shaye, Founder of New Line Cinema and Unique Features, on Directing his Third Film, Ambition
Bright Wall/Dark Room July 2019: Only I Know the Secrets: Breaking Down Under the Silver Lake by Ethan Warren
Cannes 2019: Pain and Glory, Little Joe
Book Review: The Star Wars Archives 1977-1983
The Big Five-Oh: A Moviegoing Remembrance
30 Minutes on: “Mid90s”
NYFF 2018: Roma, Her Smell, The Ballad of Buster Scruggs, At Eternity’s Gate
TIFF 2018: Loro, The Front Runner
Venice Film Festival 2018: The Mountain, Roma
Bright Wall/Dark Room June 2018: Bob Fosse’s Dance with the Five Stages of Grief in “All That Jazz”
Thumbnails Special Edition: Critics in the Spotlight
Tell Your Truth: Chapman & Maclain Way on Wild Wild Country
Phantom Thread, Jane Eyre, and the Power Dynamics of Hetero Romance
Home Entertainment Consumer Guide: March 1, 2018
Greta Gerwig Joins Short Legacy of Female Best Director Nominees
Sundance 2018: Time Share, The Queen of Fear
The Master Lets Go: On the Career of Daniel Day-Lewis
New York Film Festival 2017 Preview
Cannes 2017: Palme d’Or predictions
Screw the Rich: Checking in with Lina Wertmuller
The Consummate Everyman: Goodbye to Bill Paxton
Writer Profiles: Christy Lemire
Slippery as the Dickens: Peter Bogdanovich on “They All Laughed”
Maintaining Reality: Jeff Baena on “Joshy”
“La Lupa”: A Celebration of Anna Magnani
The Unloved, Part 29: Knight of Cups
Externalizing an Internal Process: Don Cheadle on “Miles Ahead”
“La Dolce Vita” No More: On The Current State of Foreign-Language Film Distribution
Why the Oscars Need to Move Lifetime Achievement Back to the Telecast
Magic Without Mania: Paul Dalio and Luke Kirby on “Touched With Fire”
The Return of Ralph Bakshi
TIFF 2015: “Brooklyn,” “Youth”
Silent Film “Body and Soul” to Screen in Chicago
Venice Film Festival 2015: “A Bigger Splash,” “Amarcord”
The five arias from operas that movies can’t live without
Magical Realism: “Northern Exposure” 25 Years Later
Who’s Who In Reviews: Christy Lemire
Sex Symbol Without Auteur: The Strange Case of the Gina Lollobrigida Filmography
Cannes 2015: “Youth,” “Madonna,” “The Assassin”
Cannes 2015: “Youth”
Cannes 2015: “Mia Madre”
Godfrey Cheshire’s “Death of Film/Decay of Cinema” Essay
