Us is another thrilling exploration of the past and oppression this country is still too afraid to bring up. Peele wants us to talk, and…
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)
Memories and anecdotes from 50 years of moviegoing.
A reprint of astrophysicist Katie Mack's poem, "Disorientation."
A Christmas Day look-back through a photo journal chronicling the inaugural Ebert Center Symposium: "Empathy for the Universe" held on October 1st, 2018, in the National Center for Supercomputing Applications (NCSA) at the University of Illinois in Urbana-Champaign, Illinois.
A great lead performance and some nice moments can't compensate for a disappointingly reactionary framework.
A feature film by Scout Tafoya, celebrating five years of his video essay series, The Unloved.
A look back at Clint Eastwood's The 15:17 to Paris, as part of Scout Tafoya's video essay series on maligned masterpieces.
Rosamund Pike stars as slain war journalist Marie Colvin, in a biopic that keeps things tight and unsentimental.
A disorganized but affecting study of how addiction tears apart a family.
Chaz Ebert reveals her list of movies from 2018 to see before awards season 2019.
Warm but not sentimental, Jonah Hill's directorial debut is a hard-edged drama, made in the style of films from the era it depicts.