Game Night is a nearly perfect entertainment for adults over a certain age.
* 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.
On the best acting we saw at the Sundance Film Festival.
The winners of the festival's jury and audience awards were announced on Saturday night.
A review of three timely films playing in Sundance's US Dramatic Competition category.
A countdown of our most anticipated films coming this winter.
A look at 20 of the most promising films of the 2018 Sundance Film Festival.
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.
110 independent films have been announced to premiere at next January's Sundance Film Festival.
Writer/director Amy Heckerling takes a look back at her career.
An interview with David Oyelowo, star and producer of Amma Asante's "A United Kingdom."
A review written in 60 minutes about "John Wick: Chapter Two."
FFC Pablo Villaça explores the themes at the heart of Denis Villeneuve's sci-fi film "Arrival."
An interview composer Raphael Saadiq about making the music for "Underground," "Insecure" and more.
An extensive preview of 50 films coming out within the next four months, from "Sully" to "Toni Erdmann."
The first films announced for the 2016 Toronto International Film Festival.
A piece on extending the conversation about diversity at the Oscars to include all minorities.
The latest and greatest on Netflix, VOD, and Blu-ray, including The End of the Tour, Southpaw, Inside Out, The Gift, Army of Darkness, Kwaidan, and more!
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.
An FFC looks at the "Taken" saga.
"Selma" director Ava DuVernay and star David Oyelowo discuss their collaboration at the Film Independent Directors Close-Ups.
An interview with Kevin Macdonald, director of "Black Sea."
A report on the weekend presentation of "White House Butler Down," J. Hoberman's simultaneous screening of "The Butler" and "White House Down."
An exhaustive list of Top 10s by RogerEbert.com contributors.
The Oscars race has hit a holiday lull. It's a good time to pause and take stock of nominations.
Critics groups from around the country are giving awards. What impact do these awards have on the Oscar race, and how useful are they as predictors?