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TIFF 2025: Motor City, I Swear, Canceled: The Paula Deen Story
“When the World Broke Open: Katrina and its Afterlives” Launches at MOMA
The Most Significant Movie Ever Made
“King of the Hill” Slides Right Back into Confidently Funny Rhythms
KVIFF 2025: Sand City, The Visitor, Better Go Mad in the Wild
Desire Never Goes Away: Sarah Friedland and Kathleen Chalfant on “Familiar Touch”
Blood and Soap Bubbles on the Surface of Netflix’s “The Waterfront”
The Rite to Save a Life
Lookin’s Free: Joe Don Baker (1936-2025)
Remembering Jan Dawson, My Mother-in-Law (Twice)
Robert Daniels & Odie Henderson Talk Sinners
Prime Video’s “The Bondsman” Takes Kevin Bacon on a Drab Trip to Hell and Back
Life Sustained by Desire: Alain Guiraudie on “Misericordia”
SXSW Film Festival 2025: The Rivals of Amziah King, Hallow Road, The Dutchman
True/False 2025: Seeds, River of Grass, How Deep Is Your Love
“El Norte” Screening Commemorates Sundance Institute History at Pivotal Moment
Sundance 2025: Bunnylovr, Atropia, Love, Brooklyn
Sundance 2025: Rebuilding, Together, Peter Hujar’s Day
Sundance 2025: If I Had Legs I’d Kick You, The Thing with Feathers, Rabbit Trap
Out of the Ashes: Let the 2025 Oscars Be a Telethon for Wildfire Relief
Sundance Film Festival 2025 Preview: 20 Films We Can’t Wait to See
The Metaphor Years: Writing Lessons from “The Twilight Zone”
Not Everything Needs to be for Sale: on the Integrity of the Watch Duty App
What’s gone can never be replaced: thoughts on Los Angeles, disasters, and the present moment
The Great Craft of 2024
2025 Sundance Film Festival Announces Ambitious Program
Our Film Has A Power: Basel Adra and Yuval Abraham on No Other Land
Chaz Ebert, CEO of RogerEbert.com, Makes Directorial Debut with “Wellness Warrior”
TIFF 2024: The Return, Riff Raff, The Friend
Telluride Film Festival 2024: Blink, Apocalypse in the Tropics, Carville: Winning is Everything, Stupid!
Fight or Flight: Jeremy Saulnier on Rebel Ridge
FX’s “English Teacher” Gets an Incomplete Grade for Now
Short Films in Focus: Welcome to the Enclave
The Hard Road: Alex Cox on Crowdfunding, Success, and a Life in Independent Filmmaking
Big, Big, Big, Big Movies: Jon Landau (1960-2024)
Hulu’s “UnPrisoned” Takes Bigger Swings In Its Self-Assured Second Season
Catching a Blackfamous White Whale on Broadway: Purlie Victorious Comes Home
Robert Daniels & Odie Henderson Talk Wild Wild West at 25
How Cold War Thrillers Expressed Presidential Campaign Concerns
A Dream for a Composer: John Debney on “The Garfield Movie” and “Horizon: An American Saga”
A Special Kind of Beauty: Viggo Mortensen on The Dead Don’t Hurt
Cannes 2024: Marcello Mio, Parthenope, Elementary
Living Through Words: Ethan Hawke on His Career, Poetry, and Wildcat
I’ve Never Seen Anything Like It Before: Roger Corman (1926-2024)
He’s Got Something Going On: David Proval on Mean Streets, and Acting for Martin Scorsese
O.J. Simpson Dies: The Rise & Fall of A Superstar
A Plea for Someone to Save Megalopolis
How The Ladykillers Kicked Off Tom Hanks’ Weirdest Year Two Decades Ago
Giancarlo Esposito Can’t Keep Overcrowded, Rushed Parish on the Road
True/False 2024: Coming Home Again
You’re Naked Without Us: A Report from the Costume Designers Guild
Dead Ringers: Rebirthing Body Horror
Stay Vigilant: Directors Camille Hardman and Gary Lane on Still Working 9 to 5
The Perfection of the Human Soul: The Cast of Groundhog Day Celebrates Harold Ramis
Female Filmmakers in Focus: Nancy Savoca on Household Saints
A Report from the Color Purple Special Screening with Oprah Winfrey
Female Filmmakers in Focus: Noora Niasari on Shayda
Bright Wall/Dark Room October 2023: Killing Time: 3:10 to Yuma & the Lonesome West by Nicholas Russell
A Goodbye to Shaft, Hollywood’s First ‘Bad’ Black Man: Richard Roundtree (1942-2023)
MOMA Launches Iranian Cinema Before the Revolution, 1925-1979
TIFF 2023: The Beast, Evil Does Not Exist, Shoshana, Green Border
Hollywood & The March on Washington: When Fame Overcame Fear
He Did It All: William Friedkin (1935-2023)
Meet the Writers of Black Writers Week 2023
Cannes 2023: Highlights of the Year’s Festival
The Fire is Gone: Kenneth Anger (1927-2023)
Cinema’s Man of Steel: Jim Brown (1936-2023)
Netflix’s Mulligan Tries to Find Comedy in Post Apocalyptic Cartoon
Ebert Symposium 2023 to Precede Ebertfest on April 18th & 19th
Empathy Machine: Diary of a Country Priest
Ebertfest 2023: Studio Head Jason Michael Berman and Director Edson Oda Open Festival with Nine Days
True/False 2023: Ebert Fellows on Their Favorites from This Year’s Event
SXSW 2023: Blackberry, Problemista, The Long Game
SXSW 2023: Only the Good Survive, The Wrath of Becky, It Lives Inside
Tragically Common: Jamie Dack, Lily McInerny and Jonathan Tucker on Palm Trees and Power Lines
Berlinale 2023 Highlights, Part One: She Came to Me, Blackberry, The Survival of Kindness
Book Excerpt: In the Time of Kiarostami: Writings on Iranian Cinema by Godfrey Cheshire
The Great Filmmaking Craft of 2022
The Great Performances of 2022
Something Comes Out of Me That Has a Fatherly Quality: Paul Dooley on His New Book Movie Dad
Isaac Feldberg’s Overlooked Films of 2022
Love is a Form of Resistance: Chinonye Chukwu & Danielle Deadwyler on Till
TIFF 2022: El agua, Maya and the Wave, All the Beauty and the Bloodshed
I’m Afraid of Other People and Myself: Christian Tafdrup on Speak No Evil
Female Filmmakers in Focus: Adamma Ebo and Adanne Ebo on Honk for Jesus. Save Your Soul.
Lyndall Hobbs Has Mixed Feelings about Back to the Beach
Five Movies to See OIT (Only in Theaters)
We’re Only as Good as Our Generation: Ethan Hawke on The Last Movie Stars
Bright Wall/Dark Room July 2022: Bad Times at the El Royale: You Think I Can’t See You for Who You Really Are? by Sarah Welch-Larson
Bright Wall/Dark Room June 2022: Most Wonderful by Nathaniel Missildine
TV’s Rural Craze & The Civil Rights Movement
Meet the Writers of Black Writers Week 2022
A New Class Of Filmmakers: ABFF and HBO Short Film Award Finalists Bring Their Stories To Life
15 African-American Filmmakers and Roger Ebert’s Birthday Retrospective Reviews
