Creed II falls victim to the sins of sequelitis—it’s bigger, louder and more grandiose than its predecessor—yet manages to right itself by not losing focus…
* 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 article about the July 14th gala honoring Chicago International Film Festival founder and CEO Michael Kutza.
An article about the retirement of Cinema/Chicago founder and CEO Michael Kutza.
Where does a woman’s artistic integrity and autonomy begin and end when it comes to nudity on-screen?
Part II of our round-up featuring filmmaker guests scheduled to attend Ebertfest 2018.
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.
Difficult is a gendered term fueled by the Hollywood machine and maintained by the belief that actresses aren’t responsible for the achievement of their films.
A column on the lack of diversity in this year's potential Oscar nominees.
A look at the contenders for Best Actress and Best Supporting Actress this year and how many of them play a historically-beloved role for Oscar, the mother.
A preview of the 2017 Toronto International Film Festival, which starts tomorrow.
The winners of the 89th Academy Awards.
A report from AFI Fest on a presentation of Otto Preminger's "Carmen Jones."
A look at this year's competition for Best Actress.
An interview with Oscar-winning actress Lupita Nyong'o about "Queen of Katwe."
A piece on extending the conversation about diversity at the Oscars to include all minorities.
A report on the Hollywood Foreign Press Association's August 13th, 2015 Grants Gala.
A report on the Hollywood Foreign Press Association's upcoming grants banquet on August 13th.
A letter to Angelina Jolie about the casting of her upcoming take on "Cleopatra."
A piece on the wave of new Black women directors, including Gina Prince-Bythewood, Amma Assante, Ava DuVernay and Dee Rees.
A TIFF report on the two Reese Witherspoon movies at this year's fest, "The Good Lie" and "Wild."
A review of "Extant" and "Hemlock Grove."
Nell Minow responds to our Movie Love Questionnaire.
RogerEbert.com writers share their favorite memories of watching the Oscars.
Missing Roger's Oscars prognostications and his top ten lists. And making a list of my own.
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).