October Baby
Directed by
Andrew
Andrew Movie Reviews
Blog Posts That Mention Andrew
We Relate: Andrew DeYoung on “Friendship”
Upon Reflection: Andrew Haigh on All of Us Strangers
Chicago Style: Andrew Davis on the Making of The Fugitive, Stony Island, and More
Andrew Ridgeley on the New Netflix Doc Wham!
Creeping Panic: Rebecca Hall and Andrew Semans on Resurrection
A Celebration of Friendship: Andrew Ahn and Nick Adams on Fire Island
Bright Wall/Dark Room October 2021: Parenting, The Pandemic, and Paw Patrol: The Movie by Andrew Root
Revisiting Andrew Niccol’s Gattaca in the Age of CRISPR
Andrew Davis and The Fugitive Return To Chicago
Missing Andrew: Ten Years Without a Dear Friend
A Sense of Kindness: Andrew Haigh on Lean on Pete
Bright Wall/Dark Room: January 2017: “Sticks & Stones” by Andrew Root
Molly Haskell on feminism, censorship, screwball comedy, and life after Andrew Sarris
Familiar and Foreign: On Andrew Ahn’s “Spa Night”
Natural Revelations: Andrew Haigh & Tom Courtenay on “45 Years”
Video Interview: Ramin Bahrani, Andrew Garfield and Laura Dern on “99 Homes”
The enemies within the work of Andrew Niccol
Andrew Lesnie: 1956-2015
Poll: Andrew Sarris and Your Greatest Films of All Time
Andrew Sarris, auteurism, and his take on his own legacy
Andrew Sarris, 1928-2012: In Memoriam
Documentary Now! 4th Edition is an Incredible Companion to Beloved Show
Comedy Is King On Season Two of Hulu’s “Deli Boys”
“Mating Season” Almost Finds Its Rhythm by the End of Rocky First Season
How “In a Lonely Place” Changed Noir’s Direction
An Act of Translation: David Lowery on “Mother Mary”
Apple’s Twisted “Widow’s Bay” is Like Nothing Else on Television
AMC’s “The Audacity” Keeps Aiming for Big-Tech Mockery, But Mostly Bums Us Out
Season 2 of “Your Friends & Neighbors” Serves Another Course of Hamm-Flavored Suburban Malaise
SXSW 2026: Crash Land, The Fox, Love Language
Lisa Kudrow Makes An Extremely Welcome “Comeback” to HBO
SXSW 2026: The Peril at Pincer Point, American Dollhouse, Anima
If We Picked the Winners: The 98th Academy Awards
HBO’s “Rooster” is Almost an Endearing Comedy
A Case of Identity Crisis: “Young Sherlock” Suffers From Too Many Ideas
Christy Lemire Bids a Fond Farewell to RogerEbert.com
Netflix’s “Strip Law” Should Stay in the Animated Desert
Book Excerpt: STEVE JOBS MONOGRAPH, Edited by B.C. Wallin
Sundance 2026: Levitating, Kikuyu Land, Sentient
Sundance 2026: When a Witness Recants, Time and Water, Antiheroine
Home Entertainment Guide January 2026: “One Battle After Another,” “Tron: Ares,” “Wicked: For Good,” More
Marvel’s “Wonder Man” Builds a Bleary Showbiz Buddy Comedy For the MCU
2026 Sundance Preview: 20 Films We Can’t Wait to See
A Great Sophie Turner Carries Prime Video’s “Steal” Over its Cliches
2026 Oscar Nominations Predictions in the Major Categories
40 Shows We Can’t Wait to Watch in 2026
40 Movies We Can’t Wait to See in 2026
Chaz Ebert’s 30 Best Movies of 2025 (and One Guilty Pleasure)
Ecstasy and Agony: Mona Fastvold on “The Testament of Ann Lee”
The Great Performances of 2025
The 8 Essential Films of Rob Reiner’s Career
Sundance Film Festival Announces 2026 Line-Up
“Landman” Might Be the Dumbest Fracking Show on TV
You’re Living Intrusive Thoughts: Jennifer Lawrence and Lynne Ramsay on “Die My Love”
The Real Monsters: How True Crime Has Shaped the Horror TV Genre
Tim Robinson Sits in a World of Paranoid Conspiracies in HBO’s “The Chair Company”
Home Entertainment Guide: “28 Years Later,” “Materialists,” “Superman,” “Jurassic World Rebirth,” More
TIFF 2025: The Christophers, &Sons, Dead Man’s Wire, Tuner
TIFF 2025: Mile End Kicks, Maddie’s Secret, Poetic License
TIFF 2025: Wake Up Dead Man, Rental Family
Female Filmmakers in Focus: Sierra Falconer on “Sunfish (& Other Stories on Green Lake)”
TIFF 2025: 20 World Premieres We Can’t Wait to See
Venice Film Festival 2025: Ghost Elephants, Jay Kelly, Bugonia, Cover-Up, After the Hunt
Apple TV+, Seth Rogen Continue Hot Streaks with Second Season of “Platonic”
Netflix’s “Leanne” is Predictable Southern Comfort
SDCC 2025: Celebrating ALL the Popular Arts
Fantasia 2025: I Am Frankelda, The Devil’s Bride, Cielo
June 2025 Blu-Ray/Streaming Guide: “Drop,” “The Nice Guys,” “Dark City,” More
Tribeca Film Festival 2025: The Narrative Features
59th Karlovy Vary Film Festival Announces Official Selection and Juries
Cannes 2025: Sentimental Value, Romería, The History of Sound
Lookin’s Free: Joe Don Baker (1936-2025)
Cannes 2025 Announces Lineup with New Films by Ari Aster, Kelly Reichardt, Julia Ducournau, Richard Linklater, Wes Anderson and More
Chicago Critics Film Festival Announces Full Schedule, Special Guests
A True Sense of the Eerie, or Why I Love the Hell House Films
Revisiting the Bunker: Michael Shannon on “Eric LaRue”
Class Critique In Apple TV+’s “Your Friends and Neighbors” Lacks Bite, But Still Entertains
How the One-Take Approach of “Adolescence” Traps Us in Tragedy
SXSW Film Festival 2025: The Rivals of Amziah King, Hallow Road, The Dutchman
Having a Lunatic’s Dream: Emily Bett Rickards on “Queen of the Ring”
I Think Of Them As The Work: Gene Hackman (1930-2025)
Talkin’ About His Generation: New Book Chronicles the Making of Millennial Touchstone “Superbad”
In Praise of Excess: Queer Maximalism in the Films of Joel Schumacher
10 Great Performances from Sundance 2025
Sundance 2025: The Perfect Neighbor, The Alabama Solution, Zodiac Killer Project
January 2025 Blu-Ray Guide: “Hundreds of Beavers,” “Smile 2,” “Venom: The Last Dance,” and More
Sundance 2025: The Wedding Banquet, Kiss of the Spider Woman
Sundance Film Festival 2025 Preview: 20 Films We Can’t Wait to See
Meet the Writers: Zachary Lee
Happy New Year from Chaz Ebert and All of Us at RogerEbert.com
The Great Craft of 2024
