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Dreyer Movie Reviews
Ordet
Blog Posts That Mention Dreyer
Male Directors Can’t Stop Making Movies About Female Pop Stars
Jonathan Glazer’s “Birth” is Resurrected in a Haunting Criterion 4K Release
“Silent Hill f” Sends Gamers to a New Destination in a Terrifying Universe
Female Filmmakers in Focus: Marva Nabili on “The Sealed Soil”
There’s No Catharsis: David Cronenberg on “The Shrouds”
Book Excerpt: A Complicated Passion: The Life and Work of Agnès Varda by Carrie Rickey
Suicide by Proxy: An Interview With the Filmmakers of The Devils’ Bath
Cannes 2024: The Girl with the Needle, Wild Diamond
Short Films in Focus: I Have No Tears, and I Must Cry
A (Not So) Brief History of Silent Film Influences on Pop Music
The Tenth Anniversary of The Unloved
Fantastic Fest 2023 Highlights: The Devil You Know
NYFF 2023: Highlights of the First Week of the Fest Include New Todd Haynes, Nuri Bilge Ceylan
Moths to the Flame: Damien Chazelle on Babylon
Stay Weird: Highlights of the 2022 Fantastic Fest
Image is Happiness: Jean-Luc Godard (1930-2022)
There Are Many Different Types of Deaths: On This is Not a Burial, It’s a Resurrection
Roger’s Top Ten Lists: Best Films of 1973
Witchcraft vs. The Patriarchy in Häxan, Witchhammer, and Belladonna of Sadness
NYFF 2021: The Tragedy of Macbeth, Festival Highlights
Love Has No Gender: Kantemir Balagov on Beanpole
Roger Ebert’s Celebration of Hispanic FIlmmakers
Cannes 2019: The Lighthouse, Lux Aeterna
Cannes 2019: The Wild Goose Lake, Jeanne
Sheila O’Malley’s Top Ten Films of 2018
Matt Fagerholm’s Top Ten Films of 2018
The Silence: Paul Schrader on First Reformed
Thumbnails 4/10/18
Home Entertainment Consumer Guide: March 22, 2018
“Vampyr” and Other Horror Classics From Criterion For Halloween
The Greatest Show on Earth: Recap of the 2017 Telluride Film Festival
A Box of Chocolates: Preview of the 2017 Telluride Film Festival
True/False Film Festival 2017
Shot Across the Bow: Paul Schrader on “Dog Eat Dog”
Moving Pictures: A Recap of the 2016 TCM Classic Film Festival
“La Dolce Vita” No More: On The Current State of Foreign-Language Film Distribution
Cinematic Exorcism: Director Robert Eggers on “The Witch”
The Young Person’s Guide To Max Von Sydow, Part One
The Great Movies Review of “Groundhog Day”
Bright Wall/Dark Room October 2014: “The Flower of Evil” by Karina Wolf
Lenses and Reflections: “I Origins” and the history of the eye closeup
Blu-ray Consumer Guide: May 2014
Thumbnails 4/4/14
Ebert Club Members Mark a Year Since Roger’s Passing
In Defense of Armond White
The Unloved, Part 1: ALIEN 3
Post-Cannes: Two Critics Look Back Over This Year’s Festival
100 Great Moments in the Movies
Fresh cinematic air at 7,000 ft.
Tavernier vs. Rosenbaum
Re Bergman: Rosenbaum responds to Ebert
In defense of digital moviegoing
The man who is scaling Mt. Criterion film by film
100 great movie moments
The bookie for the Palme d’Or
“We can’t stop the dancing chicken!”: Ebertfest photos #2
Avatar, the French New Wave and themorality of deep-focus (in 3-D)
The “Best” Non-English-Language Films (Round 1)
Bordwell & Thompson: Crix of the ’00s!
Pulp Fiction: Nothing serious?
Stages of a Cinephile
Andrew Sarris, auteurism, and his take on his own legacy
British film Philistines
The 100 Most Acclaimed Movies of the 20th Century
Loose Canon: Paul Schrader and the end of movies
Prometheus: Alien origins:The skeleton beneath the exoskeleton
Bergman: Sawdust and Tinsel?
In movies begin responsibilities
Opening Shots: ‘Quills’
The enemy of my enemy is my friend
Greatest Films of All Time: Where’s the funny?
The best greatest movies ever list
Mishima: Blood cult
Name That Director!
Ebert Strikes Back
Yes, But Is It Art? Part 237
The 100 Greatest Directors of… what?
Fanny & Rosenbaum & Bordwell
Thought experiment: Are some movies better if you don’t see them?
Video games: The ‘epic debate’
Repeatable pleasures
Doo Wop, cool and raw masculinity
In search of redemption
A few calm words about The List
“What’s your favorite movie?”
On Clint Eastwood directing “Million Dollar Baby”
Ebert’s intro to Overlooked Fest ’05
Fighting over Bergman’s legacy
Defending Ingmar Bergman
Stark beauty, dark vision
Sorry, haters, all you need is love
