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MGM+’s “Robin Hood” Dazzles With Its Craft, Yet Lacks the Allure to Justify Its Creation
The Most Movie Moment: Aiyana-Lee on Getting a Surprise DM from Spike Lee and Filming Her First-Ever Movie Scene with Denzel Washington
Home Entertainment Guide October 2025: “F1,” “Eddington,” “Weapons”
“Silent Hill f” Sends Gamers to a New Destination in a Terrifying Universe
CIFF 2025: “Wind, Talk to Me,” “Brand New Landscape,” “The Girl in the Snow”
HBO’s “IT: Welcome to Derry” Feels too Much Like a Sideshow in the Stephen King Circus
How to Define Freedom: Nia DaCosta on “Hedda”
Chaz Ebert to Participate in Two Upcoming Events in Public Libraries
William Fichtner Transforms AMC’s “Talamasca” Into Something Worthwhile
I Wanted Them to Be Weird: Director John McPhail on Mixing Genres and Encouraging Actors in “Grow”
“Devil in Disguise: John Wayne Gacy” is a Tough but Important Watch
Nothing Closes the Doors to Creating: Jafar Pahani on “It Was Just an Accident”
“Battlefield 6” Seeks to Reclaim the Front Line of Multiplayer Shooters
Chaz Ebert Launches National Awards to Honor Acts of Forgiveness, Empathy, Compassion, and Kindness as Siskel & Ebert Approaches 50th Anniversary
CBS Wants Your Sitcom Time to Be Spent at the “DMV”
The Darkest Samurai Film Ever Made: Toshio Matsumoto’s “Shura”
NYFF 2025: The 63rd Edition Comes to a Close
You Play Well: Diane Keaton (1946-2025)
NYFF 2025: Late Fame, What Does That Nature Say to You, Barrio Triste
Short Films in Focus: “Stooper” (with Bennett Watanabe)
“Borderlands 4” Invites Gamers to Spend Months in Its Chaotic World
“Slow Horses” Continues to Entertain, Even in a Lesser Season
Fantastic Fest 2025: Night Patrol, Dolly, Dinner to Die For
Fantastic Fest 2025: Primate, Bride of Re-Animator
TIFF 2025: A Canadian Viewpoint on the Toronto International Film Festival at 50
TIFF 2025: The Christophers, &Sons, Dead Man’s Wire, Tuner
TIFF 2025: Motor City, I Swear, Canceled: The Paula Deen Story
Back to Duality: James Sweeney and Dylan O’Brien on “Twinless”
Telluride Film Festival 2025: The Bend in the River, Summer Tour, This is Not a Drill
Peacock’s “The Paper” Shuffles “The Office”‘s Formula To A Funny, Worthy Spinoff
Female Filmmakers in Focus: Sierra Falconer on “Sunfish (& Other Stories on Green Lake)”
An Ode to the Unanswered Questions in “Agnes of God”
TIFF 2025: 20 World Premieres We Can’t Wait to See
Moviehouse on the Edge: IFC Center Picks 20 Films to Commemorate 20 Years in New York
Time for Kick-Off: The 11 Best Football Movies (and Where to Watch Them)
The Best American Actor of His Generation: David Strathairn on “A Little Prayer”
British Banter Envy: Jay Roach and Tony McNamara on “The Roses”
My Window into Culture: Rachael Abigail Holder on “Love, Brooklyn”
The Personal Becomes Universal in Moving, Funny “Long Story Short”
“Metal Gear Solid Delta: Snake Eater” is the Definitive Way to Experience This Stealth Game Classic
Netflix’s “Hostage” Fails to Hold the Audience Captive
Locarno Film Festival 2025: Prejudice Across the Pond in “Pool of London” and “The Story of a Three-Day Pass”
Locarno Film Festival 2025: “Tabi to Hibi,” “Hair, Paper, Water…,” “Yakushima’s Illusion”
Hawaiian Shirts Are Great to Fight In: Bob Odenkirk on “Nobody 2”
Second Season of “Sausage Party: Foodtopia” is Much Tastier Than the First
Meet the Writers: Peyton Robinson
Netflix Brings “Wednesday” Back to Nevermore for a Spookier, Stranger Season 2
Apple TV+, Seth Rogen Continue Hot Streaks with Second Season of “Platonic”
Guillermo del Toro to Receive Ebert Director Award at the 2025 TIFF Tribute Awards
Apple TV+’s Meditative and Epic “Chief of War” Demands To Be Seen
The Spies of “Eyes of Wakanda” Can’t Be Stopped in Vibrant New Disney+ Animated Series
Two Become One: Dave Franco, Alison Brie, and Michael Shanks on “Together”
Life is Like a Piano: Tom Lehrer (1928-2025)
Dead Man Walking: Taron Egerton on “She Rides Shotgun”
“King of the Hill” Slides Right Back into Confidently Funny Rhythms
Book Excerpt: That Very Witch: Fear, Feminism, and the American Witch Film by Payton McCarty-Simas
Hulu’s “Washington Black” is Fueled by Steampunk and Epic Adventure
Our Minds Have Been Colonized: Ari Aster on “Eddington”
KVIFF 2025: Sand City, The Visitor, Better Go Mad in the Wild
Ari Aster Talks with Chaz Ebert About “Eddington” at Music Box
KVIFF 2025: “Bidad” Director Soheil Beiraghi on Filming Undercover, Amplifying the Voices of Iranian Gen-Z Women
Introduction to the 59th Karlovy Vary International Film Festival
Music to Make A Man Fly: The Power of John Williams’ Theme to “Superman”
From “Bosch” to “Ballard”: New Spinoff Tackles LA’s Cold Cases
What to Watch on Netflix: July 2025
Female Filmmakers in Focus: Victoria Mahoney on “The Old Guard 2”
Short Films in Focus: Q&A with “Living Reality” Director Philip Thompson
A Dispatch From the Bentonville Film Festival
59th Karlovy Vary International Film Festival to Honor Stellan Skarsgård, Vicky Krieps, Dakota Johnson and Peter Sarsgaard
We’re All In This Together: “Brazil” at 40
Netflix’s Third Season of “Squid Game” Limps Its Way To Its Bleak, Cynical Finish Line
Friendship Is Insane: Eva Victor on “Sorry, Baby”
Desire Never Goes Away: Sarah Friedland and Kathleen Chalfant on “Familiar Touch”
Death Stranding 2: On the Beach is a Touching Story about Love and Loss
Intro to Our Juneteenth Edition of Black Writers Week 2025
The Rite to Save a Life
You Do Not Encourage a Dodo to Fly: Harris Yulin (1937-2025)
Michael Douglas to Present Newly Restored “One Flew Over the Cuckoo’s Nest” at Karlovy Vary International Film Festival
Syfy’s “Revival” Resurrects the Small-Town Zombie Craze In Suitably Morbid Fashion
I Love You For Who You Are: Sly Stone (1943-2025)
A Great Businessman in the Persona of a Wonderful Entertainer: Todd Purdum on Desi Arnaz
What to Watch on Netflix: June 2025
How to Be Human: A Personal Response to John Carpenter’s “Starman,” Now in 4K
Excellent Cast Struggles to Hold Together Plodding “Dept. Q”
Cannes 2025: Sentimental Value, Romería, The History of Sound
Cannes 2025 Video #2: Isaac Feldberg on Eddington, Chronology of Water, Left-Handed Girl, and More
Apple TV+’s “Murderbot” Functions Along Mission Parameters, But Needs To Work Out Some Bugs
Restored and Rediscovered Festival Spotlights Organizations at the Forefront of Film Restoration
Cannes 2025: Two Prosecutors, Adam’s Sake, Promised Sky
Tom Segura’s Got “Bad Thoughts” to Share, But Only a Few Are Worth Hearing
What to Watch on Netflix: May 2025
Book Excerpt: Gandolfini: Jim, Tony & the Life of a Legend by Jason Bailey
Your Guide to Ebertfest 2025: Day 4, April 26th
Your Guide to Ebertfest 2025: Day 3, April 25th
Your Guide to Ebertfest 2025: Day 2, April 24th
Prime’s Magnetic “Étoile” Is Guaranteed To Be Your Spring TV Obsession
Your Guide to Ebertfest 2025: Day 1, April 23rd
The CW’s “Sherlock & Daughter” Appears to be Made for No One
Prime Video’s “#1 Happy Family USA” Gives Ramy Youssef the Freedom to Laugh at Post-9/11 Paranoia
