The Lion King
The movie is never less interesting than when it's trying to be the original Lion King, and never more compelling than when it's carving out…
* 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 review of DC Universe's Swamp Thing.
A fourth video dispatch from Cannes 2019.
A review of a new biography by Patrick McGilligan about the legendary Mel Brooks.
Julianne Moore is one of cinema’s greatest laughers, and one of its greatest criers.
An interview with director Gaspar Noe about his provocative new film, Climax.
Over two dozen underrated horror movies for your Halloween marathon planning.
As soon as I heard that Jordan Peele's debut feature had the plot of an edgy indie romantic comedy but was in fact "a horror movie," I knew it was going to be terrific. There was just no way it couldn't be. I rarely feel this confident about a film sight-unseen, but as a longtime fan of Peele, it seemed clear that he knew exactly what his movie was about a deep level. "A black man meets his white girlfriend's parents for the first time; it's a horror movie" is the kind of pitch that might earn a delighted "I'm down, brother!" chuckle from the father of said white girlfriend, a brain surgeon played by Bradley Whitford who tells the hero Chris (Daniel Kaluuya) that he would vote for Obama a third time if he could. But for all its laughs, both subtle and broad—and for all its evident familiarity with crowd-pleasing yet grimly clever '80s horror comedies like "They Live!", "Fright Night," "Reanimator," "The People Under the Stairs," "The Hidden," "Child's Play" and other movies that people in their 30s and 40s saw multiple times at dollar theaters and drive-ins and on cable—"Get Out" is no joke. It made all as much money as it did because everyone who saw it, including the ones who only went because everyone else they knew had already seen it, instinctively sensed that it was observing this moment in American history and capturing it, not just for posterity's sake or for perverse entertainment value but as monument and warning.
A review of Netflix's excellent "Alias Grace," written by Sarah Polley and directed by Mary Harron.
On the newest horror film to enter the Criterion Collection and others you should pick up.
A report on four more horror movie premieres from TIFF, including a wacky performance from Nicolas Cage.
An in-depth look at an ambitious retrospective at NYC's Film Society of Lincoln Center that celebrates one of cinema's greatest years.
Three reviews from Cannes, including the latest from Francois Ozon and the Safdie brothers, along with a special out of competition screening.
Bruno Dumont stages a rock opera about Joan of Arc. An Argentine political thriller has a dash of Hitchcock's "Spellbound."
A look at the entire "Alien" franchise, and a reappraisal of its unloved installments.
For the 41st installment in his video essay series about maligned masterworks, Scout Tafoya examines David Cronenberg's "Crash."
An interview with Adam Nayman about his new book on director Ben Wheatley
The latest on Netflix and Blu-ray, including three fantastic Criterion releases.
John Carpenter's 80s SF film may have outdated technology and outdated hair, but it hasn't aged a day.
A review of the Hulu eight-part event series adaptation of Stephen King's bestselling book.
The movie questionnaire and 2015 reviews of RogerEbert.com film critic Peter Sobczynski.
An interview with the creator of NBC's "Hannibal" and "Pushing Daisies".
A personal reconsideration of Clive Barker's "Nightbreed" in light of its Blu-ray Director's Cut.
A gallery of photos, videos and links illustrating Chaz's journey relating to Roger's legacy in the two years since his death.
A review of Terrence Malick's "Knight of Cups" from the Berlin Film Festival.
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."