Seeing Lopez’s best screen work since her early heyday of Selena and Out of Sight isn’t the only reason to check out writer/director Lorene Scafaria’s…
* 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 preview of the 2019 DOC10 Film Festival (April 11-14) in Chicago, featuring reviews of "Hail Satan?", "Mike Wallace Is Here," "Midnight Family," "The Infiltrators," "Knock Down the House," "Anthropocene: The Human Epoch," "The Biggest Little Farm," "The Distant Barking of Dogs" and "One Child Nation."
Why are black women so central in post-apocalyptic fiction? A writer looks at the trend.
With FilmStruck gone and no real alternative filling the void at present, Amazon is in a prime position to grab up fans of classic movies.
An interview with Amandla Stenberg and director George Tillman, Jr. about their adaptation of Angie Thomas' novel, The Hate U Give.
Far Flung Correspondent Omer Mozaffar talks about his experience as a consultant on the new Amazon series, Tom Clancy's Jack Ryan.
After all these years it’s hard for me to say if “Earthquake” is either a guilty pleasure or a movie so bad that it’s good.
An interview with Michael Shannon about the election, "Nocturnal Animals," "The Night Before" and more.
A comparison between the recent version of "Ben-Hur" and the classic 1959 version by William Wyler.
A conversation between the writers at RogerEbert.com about monkeys in cinema.
An appreciation of Richard Lester as a retrospective of his work is about to unfold in New York City.
An analysis of recent faith-based releases, including "God's Not Dead" and "Heaven Is For Real."
A look at Kimberly Pierce's 2013 version of "Carrie."
An interview with Benedict Cumberbatch.
An appreciation of "1941" and interview with Bob Gale.
May 2014 Blu-rays of note.
An excerpt from Vanessa: The Life of Vanessa Redgrave by Dan Callahan.
Tom Shales looks at "Carson on TCM," a weekly series of shows culling great Carson interviews.
"As film exhibition in North America crowds itself ever more narrowly into predictable commercial fodder for an undemanding audience, we applaud those brave, free spirits who still hold faith with the unlimited potential of the cinema." - Roger
After watching Tim Burton's remake of "Planet of the Apes" (2001), I concluded there was no need for another "Ape" movie to ever be made. Thirty-three years of progress in makeup technology didn't help the latter version become any better than the one that inspired it. That's why, hearing there would be a "Rise of the Planet of the Apes" a decade later, I had no expectations and feared the worst, but the results were pleasantly surprising. We often associate the word "remake" with a lack of creativity so when an exception turns out, it's important to look back and try to understand the reasons behind this.
Happy New Year from the Ebert Club!TRAILERS
19th Annual Chicago Underground Film Festival
Marie writes: I have no words. Beyond the obvious, that is. And while I'm okay looking at photos, the video.... that was another story. I actually found myself turning away at times, the suspense too much to bear - despite knowing in advance that he's alive and well and there was nothing to worry about. The bottom of my stomach still fell out...
(click images to enlarge)
Don Siegel's "Dirty Harry" (1971) may not be the greatest film of Clint Eastwood's career but its title character is certainly the one that best defines it. Looking back, it's hard to imagine it took five years for such an acclaimed picture to arrive here in Mexico. Censorship wasn't common in those days but there was something about "Harry." The only other feature that I can recall getting a similar treatment was "Two Minute Warning" with Charlton Heston. Both dealt with mad snipers on the loose so my guess is that someone decided it was better not to give anyone ideas.
Describing Steve James' "The Interrupters," I might sound like I'm talking about some dry public heath study. The centerpiece of the film is a profound theory on human nature. Science and philosophy aside, "The Interrupters" is the closest thing to a real-life superhero origins story that any of us might ever experience. This film is exactly that: a superhero origins documentary. It might be the most powerful movie I have ever seen.