Jurassic World: Fallen Kingdom
This is a movie that’s annoying in part because it doesn’t care if you’re annoyed by it. It doesn’t need you, the individual viewer, to…
* 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.
Disney previewed their upcoming live-action features during this year's D23 Expo.
A great collection of new Blu-ray releases, including "Green Room," "Night and Fog," "Everybody Wants Some!!" and "OJ: Made in America."
The latest on Blu-ray, including collector's editions of masterpieces from Robert Altman and Michael Mann.
A book review of the companion for the now-delayed "The Little Prince."
A column on the latest Blu-ray and DVD releases, including "The Visit," "Sicario," "The Look of Silence," "Bone Tomahawk" and "Lady Snowblood."
The writers of RogerEbert.com on some of our favorite performances of 2015.
Contributors to RogerEbert.com each list their favorite films of 2015.
A list of the winners from last night's Chicago Film Critics Association year-end awards.
A news story on the 2015 CFCA nominees.
Nighthawks at the cinema; Rebecca Parrish on "Radical Grace"; Suicide harder to read than murder; John Carpenter on "Vampires"; "Sicario" not yet a reality.
A video interview with "Sicario" stars Benicio Del Toro, Emily Blunt and Josh Brolin.
A report on the Hollywood Foreign Press Association's upcoming grants banquet on August 13th.
The movie questionnaire and 2015 reviews of RogerEbert.com editor Brian Tallerico.
A Cannes report on new films by Denis Villenueve and Zhang-ke Jia.
Ben Kenigsberg goes looking for alternative fare at Cannes—and finds Hollywood wannabes.
Lists from our critics and contributors on the best of 2014.
Rocket Raccoon makes a comeback; Why Some Movies Shouldn't Be Explained; Fear of a Minority Superhero; Christian Indies of 2014; Profane response to net neutrality.
Hollywood is actually regressing on Latino issues. As the industry continues to make progress in its depiction of black America, what we need now is a Spanish Harlem Renaissance.
Marie writes: Now this is really neat. It made TIME's top 25 best blogs for 2012 and with good reason. Behold artist and photographer Gustaf Mantel's Tumblr blog "If we don't, remember me" - a collection of animated GIFs based on classic films. Only part of the image moves and in a single loop; they're sometimes called cinemagraphs. The results can be surprisingly moving. They also can't be embedded so you have to watch them on his blog. I already picked my favorite. :-)
After duds "Jimmy P." and "Grand Central," the Coen brothers' "Inside Llewyn Davis" saves the day for Barbara Scharres.
Dedicated to all those who lost family members prematurely, and to two students -- one struggling with addiction, and the other who lost her father.
This is grief. The silence that comes with a loved one's death is like no normal silence. It is in our culture that we respond to this stillness with stillness upon stillness. We try to think of death as that leap into some great beyond, perhaps finally letting our loved one's fluorescent inner radiance free. In the process, those loved ones take with them the air from within our lungs. So, in coping, we respond to their perceived new freedom by restricting ourselves with strict boundaries. And, as we cope with loss, we find relief in reunions. Time begins to jump around as we sit in the moment in front of us, leaping between moments in the past, frightened by the cloud in the future. The reunions open old happy memories that help turn that searing, salty burn of the tears into a blankety warmth. But, in our culture, the reunions often end quickly, leaving us alone in the darkness, unable to sleep. This is grief. And, this is what I observed in the first half hour of Susanne Bier's soft-spoken "Things we Lost in the Fire" (2007).
Marie writes: Next door, across a long narrow drive and beyond the row of cedar hedges which run parallel to it, there resides an elementary school dating back to 1965, along with an assortment of newer playground equipment rendered in bright, solid primary colors...I'm sure you know the sort I mean...
This prickly film haunts me. I am now older than James Dean, Marilyn Monroe, Jimi Hendrix, and Malcolm X. I am at that age where the infinite world of my childhood bedroom is now replaced by a complicated mass of interwoven needs, wants, and concerns. The soundtrack of my youth is a summer of wind blowing through fragile leaves, with katydids buzzing along. The rattling taps of rain on our roof has now given way to the plastic clicking of this keyboard and various other mechanical monsters. Under it all is an ongoing hiss of noise. I also sometimes fall into that trap of looking at today through the telescope of an idealized yesterday; that outlook is a slick valley that is difficult to climb out of and easy to slide back into. Jack Nicholson in Sean Penn's"The Pledge" (2001) is likewise watching the world change. More than that, he is watching his world slip away from him.
Yes, but is it Art? Marcell Duchamp's famous "Fountain" aka urinal