Old Joy
Based on a short story by
Raymond
Raymond
Raymond Movie Reviews
Blog Posts That Mention Raymond
I Won’t Know If I’m Coming or Going: Rodrigo García on Nine Lives and His Latest Film, Raymond & Ray
“Oscar Night in Los Angeles,” by Raymond Chander
Interview with Anne Heywood & Raymond Stross
Home Entertainment Guide June 2026: Hoppers, Crime 101, The Mastermind, More
Apple TV’s “Sugar” Reaches for the Stars in Grounded, Moving Second Season
The 25 Best TV Shows of 2025
CIFF 2025: The Stranger, Franz, Kontinental ’25
It’s A Process: Kelly Reichardt on “The Mastermind” and Josh O’Connor’s Timeless Mug
An Ear for Writing For Women: Stan Zimmerman on Golden Girls, Rosanne, Gilmore Girls
The Most Significant Movie Ever Made
LIFE AFTER LIFE: 4 Films at IANDS Conference in Chicago August 27-31
Locarno Film Festival 2025: 14 Films Commemorating Postwar Britain
San Diego Comic-Con 2025: Aliens and Activations
June 2025 Blu-Ray/Streaming Guide: “Drop,” “The Nice Guys,” “Dark City,” More
13 Reviews by Roger Ebert for the 2025 Day4Empathy
SXSW Film Festival 2025: Forge, Slanted, The True Beauty of Being Bitten by a Tick
February 2025 Blu-Ray Guide: “Wicked,” “Nosferatu,” “Here,” “Heretic,” More
Tokyo International Film Festival 2024: Orang Ikan, Missing Child Videotape, Kiyoshi Kurosawa
The Tarantino Dozen
TIFF 2024: Bonjour Tristesse, The Fire Inside, The Last Showgirl
13 Films Illuminate Locarno Film Festival’s Columbia Pictures Retrospective
Jesse Plemons on Being Funny, Stepping Off the Ledge and Making ‘Kinds of Kindness’
Presumed Innocent Spins Riveting Mystery on Apple TV+
Cannes 2024 Diary 2: International Genre Picks
Cannes 2024: Kinds of Kindness; Oh, Canada; Scénarios
How The Phantom Menace Predicted Hollywood’s Prequel Future
He’s Got Something Going On: David Proval on Mean Streets, and Acting for Martin Scorsese
San Francisco Silent Film Festival Highlights Unearthed Treasures of Film History
SXSW 2024: Dandelion, A Nice Indian Boy, I Don’t Understand You, I Love You Forever
2023: The Year The World Finally Recognized The Brilliance Of Lily Gladstone
Vote for Neuro(diversity): On the 20th Anniversary of Napoleon Dynamite
Home Entertainment Guide: January 2024
A Grounding Presence: Andre Braugher (1962-2023)
The Year of Black Men in Cinema: Chaz Ebert’s Top Ten(-ish) Films of 2023
Short Films in Focus: Big Touch
The Pitfalls of Suburban Ennui: In Praise of Todd Haynes and Julianne Moore’s Collaborations
Noir City Returns to the Music Box in Chicago
Touched the Fire: Morrisa Maltz & Lily Gladstone on The Unknown Country
A Quiet SDCC Still Finds a Way to Give Fans Unique Experiences
The Best Films of 2023 … So Far
Creatures of the Id: Celebrating Ishirō Honda’s 1968 Masterpiece, Destroy All Monsters
Bright Wall/Dark Room April 2023: All the Beauty and the Bloodshed: Friends, Lovers, or Neighbors by Frank Falisi
Female Filmmakers in Focus: Kelly Reichardt on Showing Up
58th Chicago International Film Festival Announces Full Line-Up, Premieres, Special Guests and More
TIFF 2022: Table of Contents
20 Films We Can’t Wait to See in Toronto
Fantasia 2022: Country Gold, The Harbinger, Glorious
FX on Hulu’s The Old Man is a Bold, Wise Vehicle for Jeff Bridges
Cannes 2022: Showing Up, Broker, Close
The Space Left on the Screen is For You to Fill: Scott Ryan on Fire Walk With Me: Your Laura Disappeared
Netflix’s The Lincoln Lawyer Makes Case for Streaming Success
How History Moves Through a Life: Dana Stevens on Buster Keaton
A Director Who Had Fun: Lina Wertmüller (1928-2021)
You’re In My Heart (The Final Acclaim): Patricia J. Sobczynski, 1941-2021
Winning is Easy: Producer Griffin Dunne on the 2006 Hidden Gem, Game 6
AMC’s Kevin Can F*** Himself Experiments with Sitcom Form to Mixed Results
Second City’s New Executive Producer: The Comedy of Jon Carr
The Joke’s On Him: Tom Cruise and Eyes Wide Shut
Nomadland Leads 2020 Chicago Film Critics Nominations
The Ten Best Films of 2020
The Dark Side of Harrison Ford: On the Roles That Led to What Lies Beneath
Get Lost in Bruce Lee’s Greatest Hits from Criterion
Book Excerpt: Roads to nowhere: Kelly Reichardt’s broken American Dreams
Great Cast Holds Together Thin HBO Version of Perry Mason
30 Minutes on The Manchurian Candidate
Fred Willard: 1933-2020
Hate Breeds Hate: Why Adolf Hitler is Wearing a Plains Indian Headdress in Jojo Rabbit
Just in the Minuscule Things That Happen in a Day: Kelly Reichardt on First Cow
Home Entertainment Guide: December 12, 2019
Kathryn Hahn Continues Excellent Run with HBO’s Mrs. Fletcher
TV Review: New ABC Dramas Rely on Charismatic Ensembles
A Hitchockian Nightmare: On Alan J. Pakula’s Presumed Innocent
What’s Next: Marvel, the serials, and the future
Happiness and Artifice: The Performances of Julianne Moore
Ebertfest 2019 Reveals Full Line-Up Honoring Scott Wilson, Richard Roeper and Jonathan Demme
FX’s Fantastic Better Things Rewires Expectations
The Big Five-Oh: A Moviegoing Remembrance
NYFF 2018: The Slows, In My Room, Sorry Angel, Too Late to Die Young
Out of the Past: Noir City: Chicago is Back for 10th Year
Criterion Collection Celebrates Powell & Pressburger’s A Matter of Life and Death
Book Excerpt: It’s Okay With Me: Hollywood, The 1970s, and the Return of the Private Eye by Jason Bailey
Criterion Returns King of Jazz to Its Rightful Throne
Minding the Gap, The King, Devil’s Freedom Among Highlights at DOC10 2018
The Journey of a Remarkable Artist: The Career of Gary Oldman
Great Cast Can’t Make Awful Here and Now Work
Winners of 2018 Sundance Film Festival Awards Announced
Sundance 2018 Announces Competition, Premiere, Midnight Titles and More
CIFF 2017 Preview: 45 Films to See
Hugh Hefner: Memories of a Legend
The Big Knockover: “Noir City: Chicago” Brings Heist Films to the Music Box Theater
Keeping the Elegant End Up: “The Spy Who Loved Me” at 40
Cannes 2017: “L’amant double,” “Good Time,” “12 Days”
Powers Boothe: 1948-2017
A musical soul: Jonathan Demme, 1944-2017
“Ghost in the Shell” and Asian-American Outrage on Social Media
Confusion and carnage: an interview with film critic Adam Nayman about the films of Ben Wheatley
Sundance 2017 Announces Premieres, Midnight Films and More
AFI Fest 2016: The First Film Noir Directed by a Woman, Ida Lupino’s “The Hitch-Hiker”
