Great Movies
TV/Streaming
Home Entertainment Guide: September 2022
The latest monthly column on new streaming and Blu-ray releases includes Elvis, Thor: Love & Thunder, and Criterion releases of Blow Out, Exotica and Sound of Metal.
The latest monthly column on new streaming and Blu-ray releases includes Elvis, Thor: Love & Thunder, and Criterion releases of Blow Out, Exotica and Sound of Metal.
An article about the reopening of Chicago's historic FACETS on Friday, September 17th, with Kazik Radwanski's "Anne at 13,000 Ft."
A collection of memories from fans of Roger Ebert.
“The Sweet Hereafter” is superlative in its uncompromising but undeniably compassionate depiction of a bleak human condition.
An appreciation of William (Bill) Marshall, Co-Founder of the Toronto International Film Festival.
A news brief on Saturday's Ebert Tribute event, which celebrated director Agnès Varda.
A bunch of 2016 Oscar nominees and must-own Criterion releases just hit Blu-ray. Pick your favorite!
A FFC essay on Paul Schrader's 1997 darkly powerful drama Affliction.
A review of Atom Egoyan's "Remember".
A gallery of photos, videos and links illustrating Chaz's journey relating to Roger's legacy in the two years since his death.
A photo gallery offering snapshots from The Ebert Dinner at the 2014 Toronto International Film Festival.
Cannes reporters Michał Oleszczyk and Ben Kenigsberg discuss the films of this year's Cannes Film Festival.
Your guide to the best movies New to Netflix, On Demand, and other at-home services.
Sheila writes: Those of you attending Ebertfest, a note from Chaz:We will have our annual Ebert Club Meet and Greet at the Roger Ebert Film Festival, Thursday, April 24, 2014 at 8 am - 10 am in the Illini Union, General Lounge. Also invited are the Far Flung Correspondents and writers from Rogerebert.com. I look forward to seeing you there!
• Toronto Journal #1More than in previous years, I'm noticing the laptops in the audiences here at the Toronto Film Festival. Some of the bloggers seem to be beginning their reviews as the end credits still play. Then you see them outside, sitting on a corridor floor, their computers tethered to an electric umbilical, as they type urgently. Of course many of them share their opinions in quick conversational bursts, and a consensus develops. Most films good enough for an important festival, I think, require a little more marinating.
David Fincher's "The Social Network"is emerging as the consensus choice as best film of 2010. Most of the critics' groups have sanctified it, and after its initial impact it has only grown it stature. I think it is an early observer of a trend in our society, where we have learned new ways of thinking of ourselves: As members of a demographic group, as part of a database, as figures in...a social network.
Atom Egoyan must be a wonderful teacher. (Photo by Roger Ebert) Egoyan on inspiration
Egoyan on erotic scenes
  Egoyan on Amanda Seyfried
Egoyan on Liam Neeson
Egoyan on Ingmar Bergman and the essence of cinema
Egoyan on preconceptions about actors
Egoyan on film versus video as a medium
Egoyan on the "tipping point"
Egoyan on why we're uneasy seeing famous stars in sex scenes.
if (WIDGETBOX) WIDGETBOX.renderWidget('1b397149-af9a-4c53-b8cf-a8894526dbcf'); Get the Roger Ebert's Journal widget and many other great free widgets at Widgetbox! Not seeing a widget? (More info)
Atom Egoyan often makes erotic melodramas. There was a time when audiences perked up at the prospect of, oh, you know, sex and nudity and stuff, but these days moviegoers seem strangely neutered. They'd rather look at fighting machines or 3-D animals. They like their porn the way it's presented on the Net, wham-bam, thank you, man. The notion of erotic tension uncoiling within the minds of characters and unfolding languidly in sensuous photography is, I dunno, too artistic.
