Zombieland: Double Tap
The vast majority of sequels are unnecessary, but Zombieland: Double Tap feels particularly so, especially coming out a decade after the original.
* 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 extensive preview of the films being shown at the 55th annual Chicago International Film Festival.
Highly anticipated titles like Knives Out, Harriet, Jojo Rabbit, and A Hidden Life will be coming to the Chicago International Film Festival next month.
On 20 major premieres from the Toronto Film Festival that we'll be covering over the next two weeks.
The first wave of World Premieres announced for TIFF 2019.
Reviews of two vastly different crowd-pleasers that premiered at Sundance, Troop Zero and Give Me Liberty.
An interview with writer/director/star Ike Barinholtz about his timely comedy, The Oath.
Part I of our round-up featuring filmmaker guests scheduled to attend Ebertfest 2018. We will include the film critics in a separate round-up.
A report from the WonderCon panel on Netflix's new "Lost in Space."
A report on the Hollywood Foreign Press Association's 2016 Grants Banquet.
A preview of dozens of films coming out this summer.
Highlights of the live-action portion of 2015's D23, featuring "Star Wars: The Force Awakens," "Captain America: Civil War," and more!
A preview of dozens of films being released this Summer.
Lists from our critics and contributors on the best of 2014.
A recap of the new releases on Netflix, On Demand, and Blu-ray/DVD, including "Snowpiercer," "Maleficent," "Nightbreed," "F For Fake" and "La Dolce Vita."
Odie Henderson went to TIFF 2014 and shares his favorites from this year's fest, along with a glimpse of what's it like on the ground at a fest like Toronto.
Ebertfest receives a 2014 grant from the Hollywood Foreign Press.
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.
A look at the cinematic and political history that resulted in Bong Joon-Ho's "Snowpiercer."
The legend of Harvey Scissorhands; the controversial twist of "Homeland"; a "Lucking Out" review; the sad misogyny of "Xanth"; the NSA galls the spy-crazy French.
Sheila writes: Todd Sanders is a self-taught neon sign artist. Roadhouse Relics, the gallery of his work in Austin, Texas, is filled with his beautiful vintage-inspired signs. His designs are all hand-drawn. He collects old magazines from the 1920s, 1930s, etc., to get inspiration for his neon signs. He does custom signs as well. You can check out Sanders' work, bio, and press kit at Roadhouse Relics. Neon brings up all kinds of automatic images and associations: seedy hotels, burlesque joints, cocktail bars. His signs evoke those images, but much more. For instance, look at his beautiful "Fireflies In a Mason Jar".
The new science fiction action film from Bong Joon-ho ("The Host," "Mother") defies the odds by turning yet another dystopian future into something thrilling and distinctive.
Marie writes: Widely regarded as THE quintessential Art House movie, "Last Year at Marienbad" has long since perplexed those who've seen it; resulting in countless Criterion-esque essays speculating as to its meaning whilst knowledge of the film itself, often a measure of one's rank and standing amongst coffee house cinephiles. But the universe has since moved on from artsy farsty French New Wave. It now prefers something braver, bolder, more daring...
This is a free sample of the Newsletter members receive each week. It contains content gathered from recent past issues and reflects the growing diversity of what's inside the club. To join and become a member, visit Roger's Invitation From the Ebert Club.
Marie writes: Not too long ago, Monaco's Oceanographic Museum held an exhibition combining contemporary art and science, in the shape of a huge installation by renowned Franco-Chinese artist Huang Yong Ping, in addition to a selection of films, interviews and a ballet of Aurelia jellyfish.The sculpture was inspired by the sea, and reflects upon maritime catastrophes caused by Man. Huang Yong Ping chose the name "Wu Zei"because it represents far more than just a giant octopus. By naming his installation "Wu Zei," Huang added ambiguity to the work. 'Wu Zei' is Chinese for cuttlefish, but the ideogram 'Wu' is also the color black - while 'Zei' conveys the idea of spoiling, corrupting or betraying. Huang Yong Ping was playing with the double meaning of marine ink and black tide, and also on corruption and renewal. By drawing attention to the dangers facing the Mediterranean, the exhibition aimed to amaze the public, while raising their awareness and encouraging them to take action to protect the sea.
Marie writes: Behold the entryway to the Institut Océanographique in Paris; and what might just be the most awesome sculpture to adorn an archway in the history of sculptures and archways. Photo @ pinterest
(click to enlarge.)