Bombshell is both light on its feet and a punch in the gut.
Roger Ebert became film critic of the Chicago Sun-Times in 1967. He is the only film critic with a star on Hollywood Walk of Fame and was named honorary life member of the Directors' Guild of America. He won the Lifetime Achievement Award of the Screenwriters' Guild, and honorary degrees from the American Film Institute and the University of Colorado at Boulder.
Chaz is the Publisher of RogerEbert.com and a regular contributor to the site, writing about film, festivals, politics, and life itself.
Matt Zoller Seitz is the Editor at Large of RogerEbert.com, TV critic for New York Magazine, the creator of many video essays about film history and style, a finalist for the Pulitzer Prize in criticism, and the author of The Wes Anderson Collection. His writing on film and TV has appeared in The New York Times, Salon, New York Press, The Star-Ledger and Dallas Observer. (Banner illustration by Max Dalton)
CANNES, France -- The French New Wave was a rebirth of French films in the early 1960s, and the German new wave represented the same process in Germany in the 1970s. Now black American filmmakers are developing a new stylistic and personal vision that reached critical mass at this year's Cannes Film Festival. In May of 1991, here in the incongruous setting of the French Riviera, far from the urban settings of most of their films, the black new wave came of age.
Fifty years ago this year, Orson Welles had made what would eventually become known as the greatest movie of all time. But he was having trouble getting it released.
An ape uses to learn a bone as a weapon, and this tool, flung into the air, transforms itself into a space ship--the tool that will free us from the bondage of this planet. And then the spaceship takes man on a voyage into the interior of what may be the mind of another species.
Ebert's Best Film Lists1967 - present
If a society does not allow its women to speak to men other than their husbands, or own property, or vote, or drive cars, or appear in public unless covered in traditional dress from head to toe, or take trips without written permission, or have any rights to their children, and if that society nods approvingly when a husband beats his wife when she disobeys these rules--is that society sexist? Or are we racist to think so?
Ebert's Best Film Lists: 1967-Present
Alphabet soup, or a critic's Q & A on the MPAA's new NC-17 rating:
Every year during the first week on June, it has been my custom to
When the lights go down at the beginning of "Gremlins 2: The New
PARK CITY, Utah -- There they were at brunch on Saturday morning, Michael Moore and Harlan Jacobson, sitting at tables right next to one another, back to back, not speaking. Somebody helpfully suggested that they hold a debate, right there on the spot. Nothing doing.