Eighth Grade is so grounded in the reality of middle school it almost operates like a horrible collective flashback.
* 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.
A special edition of Thumbnails highlighting the changes in journalism.
A tribute to the singular presence and innumerable characters of the late R. Lee Ermey.
Perhaps Eastwood isn’t just interrogating heroism, he’s interrogating himself.
A look at the work of John Williams outside of his greatest hits.
An interview with Daveed Diggs, star of "Wonder" and executive producer of "The Mayor."
A piece on the prescience and impact of George Orwell's "1984" and the film version, which returns to theaters next week.
An excerpt from the February 2017 issue of online magazine Bright Wall/Dark Room about "Frost/Nixon."
A report on the Smithsonian Channel's "The Obama Years: The Power of Words," and its recent screening in Chicago.
A piece on the first Sundance Film Festival during the Trump administration.
Roger Ebert on kindness; Gerald Levin defends John Lewis; Bush sisters write to the Obama girls; Harriet Tubman strides onto TV; Nina Turner on the audacity of hope.
Some of our favorite performances of 2016.
The latest on Blu-ray, DVD, and Netflix, including Heart of a Dog, Southside with You, Florence Foster Jenkins, and many more!
Matt writes: Living legend Warren Beatty has a new film in theaters—his first in 18 years—and it has received quite a bit of coverage at RogerEbert.com. Matt Zoller Seitz awarded the film three stars, while Brian Tallerico interviewed Beatty along with the film's two young stars, Alden Ehrenreich (the future Han Solo) and Lily Collins. Yet in addition to these new articles, our site contains a wealth of archival interviews with Beatty conducted by Roger Ebert, including this essential conversation from 1967, in which Beatty discusses the controversial violence in "Bonnie and Clyde" famously panned by The New York Times critic Bosley Crowther.