With its single setting and real-time story, The Guilty is a brilliant genre exercise, a cinematic study in tension, sound design, and how to make…
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
An essay about revisiting Paul Thomas Anderson's "Punch Drunk Love," as excerpted from the online magazine Bright Wall/Dark Room.
A look at the uneven way that disabled men and women are presented in American cinema.
Margaret Betts on "Novitiate"; Alexandra Billings on transgender negativity; Visual language of oppression; Curious pleasure of TV edits; Collapse of "House of Cards."
Writer/director Margaret Betts talks about her nun story "Novitiate."
An interview with director Peter Bogdanovich about 1981's "They All Laughed."
A list of films and special events to check out when attending this year's Chicago International Film Festival.
The Alliance of Women Film Journalists presents its list of top female fiction characters.
Before this summer's "The BFG," Spielberg made another personal, enchanting and overlooked film: 1989's "Always."
An interview with actress Clotilde Courau about Philippe Garrel and "'In the Shadow of Women."
An excerpt from the August issue of Bright Wall/Dark Room on "Charade."
An appreciation of Richard Lester as a retrospective of his work is about to unfold in New York City.
The movie questionnaire and 2015 reviews of RogerEbert.com film critic Susan Wloszczyna.
A critic looks back on the films that formed the way she reads cinema and life.
A piece on the history of Cameron Crowe in light of this week's Aloha.
A discussion with the RogerEbert.com writers on the legacy of Sophia Loren.
Jana Monji responds to our Movie Love Questionnaire.
Nell Minow responds to our Movie Love Questionnaire.
May 2014 Blu-rays of note.
Writer Dan Callahan responds to our Movie Love Questionnaire.
Writer Susan Wloszczyna responds to our Movie Love Questionnaire.
Why showrunners matter on TV much less than you think; BBC's Sherlock by the numbers; Vulture's Summer TV issue; in praise of Don't Trust the B----- in Apartment 23; M. Night Shyamalan wrote what?; DNA can't be patented; robots can fight.
With the passing of Andy Williams, I keep imagining his golden tenor singing Henry Mancini's "Moon River." The song talks about crossing life in style. "Breakfast at Tiffany's" is all about fashionable cafe society and love; in an adult fairy tale, you can have both even if you are two drifters.
The director Gregory Nava once commented, "Whenever any question of style or taste in dress comes up, I simply ask myself, 'What would Fred Astaire have done?'" Audrey Hepburn is Astaire's female equivalent: sophistication mixed with fizzy fun.
For those of us who missed our calling as jet setters, socialites or fashion models along comes the edifying, spritely documentary "Versailles '73: American Runway Revolution" to show us how much work it is to be spontaneously fabulous.
Nearly 40 years ago, in late November of 1973, something rather momentous happened at the Opéra Royal on the grounds of the King's old digs outside Paris. In the course of a fashion show that Women's Wear Daily dubbed "The Battle of Versailles," boldly assertive American runway models -- many of whom were what we now call African-American -- wore sporty, comfortable American designer clothes with such, well, panache that the absolute supremacy of French haute couture was dented for good.