My Name Is Alfred Hitchcock
Self (archive footage)
Alfred Hitchcock
Alfred Hitchcock
Alfred Hitchcock Movie Reviews
Blog Posts That Mention Alfred Hitchcock
Celebrating the Artifice: Laurent Bouzereau on Spielberg, Hitchcock, De Palma and More
Hitchcock & DePalma: Split Screen Bloodbath
“The Wrong Man”: Hitchcock’s Least “Fun” Movie Is Also One Of His Greatest
Solidarity of Cinema: Kent Jones on “Hitchcock/Truffaut”
TIFF 2015: “Our Last Tango,” “Hitchcock/Truffaut,” “Miss Sharon Jones!”
Telluride 2015: “Hitchcock/Truffaut”
Cannes 2015: “Hitchcock/Truffaut,” “Green Room,” “Love”
The Hitchcock Connection
Book Excerpt: Psycho-Sexual: Male Desire in Hitchcock, De Palma, Scorsese, and Friedkin by David Greven
BBC “The Lady Vanishes” Only Strengthens Reputation of Hitchcock Original
Quiet Mastery: Hitchcock’s early films
Hitchcock’s big sex close-up
New Hitchcock prints get festival treatment
Hitchcock is still on top of film world
Hitchcock’s Family Plot Photo Album
Kim Novak on Hitchcock, Hollywood
Hitchcock: He Always Did Give Us Knightmares
Hitchcock: “Never mess about with a dead body — you may be one…”
What to Watch on Netflix: June 2025
Thumbnails 12/18/14
Bright Wall/Dark Room November 2014: Shadow of a Doubt by Michael Ryan
“That’s funny…That plane’s dustin’ crops where there ain’t no crops.”
Opening Shots: The Dark Knight
Up close and personal: The Close-Up Blog-a-thon
Stanley Kubrick hates you
A slice of perfection
A vast Waste Land (with footnotes) Part II
The Marty Show
The 100 Most Acclaimed Movies of the 20th Century
Falling: The Architecture of Gravity
Opening Shots: ‘Greetings’
‘Rosemary’s Baby’ remake aborted; God not dead?
Bergman: Sawdust and Tinsel?
You don’t dismiss the dean
“This is where we came in…”
A view from ‘The Bridge’
North by Northwest: Long shots as close-ups (Part 1)
The best greatest movies ever list
Verdant Vertigo: Dreaming in Technicolor
The 100-Year-Old Contrarian
Psycho: Murder in close-up (without bodies)
In memory of Claude Chabrol (1930-2010)
A miracle of a movie
Call him “Mr. Contrarian”
It’s sometimes wise to call the cops
Something’s Gonna Live: Classic movies by design
How “In a Lonely Place” Changed Noir’s Direction
“Hush” is the Best Horror Movie You Probably Haven’t Seen
Highlights of Roger Ebert on Black Filmmakers for Black History Month
Something Lasting and Unforgettable: Robert Duvall (1931-2026)
Craziness and Contradiction: Kirill Serebrennikov on “Limonov: The Ballad”
Palm Springs Film Festival Announces 2026 Lineup
Nothing Closes the Doors to Creating: Jafar Pahani on “It Was Just an Accident”
TIFF 2025: Wasteman, Winter of the Crow, Charlie Harper
There’s No Catharsis: David Cronenberg on “The Shrouds”
What to Watch on Netflix: April 2025
Black Harvest Film Festival 2024: Black Table, Rising Up at Night, The Weekend, Jimmy
“She Just Had an Accident”: “Seed of Chucky” at 20
A Prophet is Without Honor in His Own Country; or, The Curious Case of Clint Eastwood
When You’re Angry, You’re Already Losing: Guy Maddin, Evan Johnson, and Galen Johnson on “Rumours”
What About Bob? On the Legacy of One of the Best-Loved Comedians, Bob Newhart (1929-2024)
Reclamation Through Restoration: Thelma Schoonmaker Talks Michael Powell, Martin Scorsese and Peeping Tom
The Ebert Fellows Go to Ebertfest 2024
Ebertfest 2024 Announces Full Lineup, With Guests Including Eric Roberts, Mariel Hemingway, Larry Karaszewski, and More
Five Years Later, Us is Jordan Peele’s Defining Puzzle
Dan Callahan on His New Book, Bing and Billie and Frank and Ella and Judy and Barbra
He Did It All: William Friedkin (1935-2023)
Colors of Film Deconstructs Visual Palettes of Cinema History
A Preview of the 2023 Rendez-Vous with French Cinema
I Won’t Know If I’m Coming or Going: Rodrigo García on Nine Lives and His Latest Film, Raymond & Ray
Scratching the Celluloid Surface of Sam Barlow’s Hollywood Lament Immortality
A Difficult Journey: Why I Flew Across the Country to See Lawrence of Arabia
James Caan: 1940-2022
Alive Again: Revisiting Steven Spielberg’s Jurassic Park
A True Movie Star: On the Career of Channing Tatum
Ebertfest 2022 Recap: A Golden Homecoming
Our Favorite Roger Reviews: Diabolique
Swashbuckling Women
The Mystery Was the Point: On the Life of Dean Stockwell (1936-2021)
From Guillermo and Gottfried to the Golden Arm, Ebertfest 2022 is Back in Full Swing
The Curtain Rises: On the Power of Christian Petzold’s Phoenix
The End of an Era: Norman Lloyd, 1914-2021
Bonded and Unbound: Sean Connery, 1930-2020
Rhonda Fleming: 1923-2020
SDCC 2020: Guillermo del Toro and Scott Cooper on Antlers and Filmmaking
Upholding Black Voices: An Annotated Table of Contents
Happy 6th Anniversary to Brian Tallerico from RogerEbert.com
Book Review: Are Snakes Necessary? by Brian De Palma and Susan Lehman
Ebertfest Announces Kathryn Bostic and the Opening and Closing Night Films for 2020 Festival
Thumbnails Special Edition: In Praise of Our Writers at RogerEbert.com
A Choreographed Dance: Sam Mendes, Krysty Wilson-Cairns, George MacKay and Dean-Charles Chapman on 1917
The Best Films of the 2010s: Phantom Thread
Thumbnails 9/23/19
TIFF 2019: The Audition, Pelican Blood, The Whistlers
Music Box Memories: A Legendary Theatre Celebrates 90 Years
Andrew Davis and The Fugitive Return To Chicago
Cannes 2019: Bong Joon-ho Wins Palme d’Or for Parasite
