Harmony
Harmony Movie Reviews
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Blog Posts That Mention Harmony
Interview with Harmony Korine
The Great Performances of 2025
The 25 Best TV Shows of 2025
Tokyo Film Festival 2025: “Demon Pond” and Japanese Yokai Culture
HBO’s Zennial Comedy “I Love LA” Lets Rachel Sennott Navigate Life, Love, and Influence
TIFF 2025: The Christophers, &Sons, Dead Man’s Wire, Tuner
Second Season of “Sausage Party: Foodtopia” is Much Tastier Than the First
Desire Never Goes Away: Sarah Friedland and Kathleen Chalfant on “Familiar Touch”
I Love You For Who You Are: Sly Stone (1943-2025)
Cannes 2025: Sentimental Value, Romería, The History of Sound
Paramount+ True Crime Series “Happy Face” Entertains Even as It Loses Direction
Sex, Love and Pickles: Amy Irving, Peter Riegert and Susan Sandler on “Crossing Delancey”
Movies to Watch if You Love Bad Bunny
30 Minutes On: “Watership Down”
Home Entertainment Guide: October 2024
Venice Film Festival 2024: Prepping for the Biennale
Retrospective: Jean-Pierre Melville and the Cinematic Hitman
Seven Samurai Continues Its Ride Through Cinema’s Past and Future
The Best Show on TV is Back in the Third Season of FX’s The Bear
The Language of Horror: Ishana Night Shyamalan on The Watchers
Cannes 2024: Sean Baker’s Anora wins Palme d’Or
No Easy Answers: On the Power of The Teachers’ Lounge
Death Feels Very Close: Ryûsuke Hamaguchi on Evil Does Not Exist
The End of the World is Going to be Weird on Prime Video’s Quirky, Clever Adaptation of Fallout
She Knew: The Women of Science Fiction Who Predicted the Future
Home Entertainment Guide: February 2024
The Internet Will Never Let Russell Crowe Forget Les Miserables
Home Entertainment Guide: January 2024
A Miniature Society: İlker Çatak on The Teachers’ Lounge
Fare Thee Well: On the Tenth Anniversary of Inside Llewyn Davis
How Martin Scorsese Uses Music to Enhance His Visions
NYFF 2023: AGGRO DR1FT, The Sweet East, Ryuichi Sakamoto: Opus
Wes Anderson Evolves Signature Style in Four Netflix Short Films
NYFF 2023: Highlights of the First Week of the Fest Include New Todd Haynes, Nuri Bilge Ceylan
Apple TV+’s Physical Loses Its Strong Voice in Final Season
Tribeca 2023: The Gullspång Miracle, Common Ground, Transition, Songs About F***ing
Gremlins: Secrets of the Mogwai Reignites Beloved Property
A Beautiful Moment: The Cast of Queen Charlotte on the New Bridgerton Prequel
Music in the Movies at Ebertfest 2023
Apple TV+’s Schmigadoon! Takes on Schmicago! in Snazzy Second Season
Update: RogerEbert.com is Wishing You Health, Safety and Compassion During the COVID-19 Pandemic: Message for Day4Empathy, April 4th, 2020
2023 Sundance Film Festival Announces Competition Films, Premiere Titles, Midnight Selections, and More
TV’s Rural Craze & The Civil Rights Movement
Meet the Guests of Ebertfest 2022
Clothes Make the Character: Janie Bryant on the Wardrobe of Mad Men
Sundance 2022: Leonor Will Never Die, Utama, You Won’t Be Alone
Apple TV+’s Foundation is An Ambitious, Sprawling Sci-Fi Event
A Profound Scene: Alicia Vikander on Blue Bayou
Love Your Enemies: A Biblical Reading of Michael Sarnoski’s Pig
A Look Back at Tribeca 2021: The Documentary Features
No Malice Film Contest Extends its Deadline to May 31st
Four Quick Tips to Help You Enter the No Malice Film Contest
SXSW 2021: Kid Candidate, Executive Order, Potato Dreams of America
SXSW 2021: 12 Films We Can’t Wait to See
The Smoke Gets In Your Eyes Cinematic Universe
Abraham Lincoln Presidential Library and the Ebert Foundation Sponsor the No Malice Film Contest for Children and Young Adults Across Illinois to Promote Racial Healing
Everlasting Arms: The Sustained Power of The Night of the Hunter
Book Excerpt: The Press Gang by Godfrey Cheshire, Matt Zoller Seitz, Armond White
SDCC 2020: The Psychology of Star Trek vs. Star Wars
Bubba Wallace Makes NASCAR History By Toppling Confederate Symbols, Joining Michael Jordan’s First Black Majority-Owned Racecar Team
Revisiting My 2017 Article, My Daughter Loves Country Music, In Light of Mickey Guyton’s song, Black Like Me
Home Entertainment Guide: July 9, 2020
Transcendent in Its Reach: Christine Swanson and Aunjanue Ellis on The Clark Sisters
Nausicaä Awakens: The Influence of Hayao Miyazaki on the Star Wars Sequel Trilogy
Epix’s Belgravia Breaks Societal Barriers to Enormously Satisfying Effect
RogerEbert.com is Wishing You Health, Safety and Compassion During the COVID-19 Pandemic: Message for Day4Empathy, April 4th, 2020
Sundance 2020: Eight Highlights of the Shorts Programs
Sundance 2020: Acasa, My Home, Once Upon a Time in Venezuela
Sundance 2020 Announces Competition, Midnight, Premiere Titles and More
Short Films in Focus: All These Creatures
CIFF 2019: Preview of the 55th Chicago International Film Festival
TV Review: Two New Sitcoms Fit the NBC Thursday Night Mold
TIFF 2019: 1982, Ordinary Love, Blackbird
Bright Wall/Dark Room July 2019: Only I Know the Secrets: Breaking Down Under the Silver Lake by Ethan Warren
Home Entertainment Consumer Guide: June 27, 2019
Tom Skerritt on the 40th Anniversary of Alien, Collaborating with Ridley Scott and More
John and Molly Chester on The Biggest Little Farm, Reconnecting with Nature Through Farming and More
Where the Scene Lives: Alex Thompson and Kelly O’Sullivan on Saint Frances
The RogerEbert.com Interviews of 2018
The Great Performances of 2018
Sundance 2019 Announces Competition, Premiere, Midnight Titles and More
NYFF 2018: Ray & Liz, Asako I & II, Hotel by the River
Music, Life, and Everything Between: Quincy Jones and Alan Hicks on Quincy
Sembene Across Africa Celebrated Legendary Filmmaker
Cannes 2018: Leto, Sorry Angel, Border
Cannes 2018: Yomeddine, Donbass
Netflix Docuseries Wild Wild Country is Fascinating Entertainment
Bright Wall/Dark Room March 2018: Soderbergh’s Limey’s by George Hardy
The Visual Language of Mudbound Cinematographer Rachel Morrison
Bright Wall/Dark Room: “Home is Where the Hurt Is” by Asher Gelzer-Govatos
The Monster Inside: Michael Shannon on “The Shape of Water”
My Daughter Loves Country Music
Thumbnails 10/6/17
Alien and Time: The Philosophy of “Arrival”
