A stellar high school comedy with an A+ cast, a brilliant script loaded with witty dialogue, eye-catching cinematography, swift editing, and a danceable soundtrack.
* 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 tribute to one of the world's most renowned filmmakers, Agnès Varda, who passed away today at age 90.
More than simple movie romances, both Jacques Demy's The Umbrellas of Cherbourg and Barry Jenkins' If Beale Street Could Talk capture the depth and expansiveness of the cycle of life with the delicate interplay of music, color, and light.
What if James Dean lived into the ‘60s and worked primarily with French New Wave directors?
A review of the new book, People Only Die of Love in Movies: Film Writing by Jim Ridley.
The RogerEbert.com pick for the Oscar for Best Documentary.
An interview with the great Agnes Varda and photographer JR about their new film, "Faces Places."
Premieres at this weekend's Telluride Film Festival include the latest from Alexander Payne, Errol Morris, Greta Gerwig, Angelina Jolie, Guillermo del Toro and more.
Dan Callahan pays tribute to the late art-house goddess.
Celebrating a lasting beauty of French cinema on her 100th birthday.
Just a glimpse at the massive program for this year's Chicago International Film Festival, running from October 13 - 27.
A news brief on Saturday's Ebert Tribute event, which celebrated director Agnès Varda.
Reflections on the women-directed films released over the course of the 25th anniversary of Sony Pictures Classics.
Roger's Favorites: Agnès Varda in honor of her Ebert Tribute with Cameron Bailey at the Toronto International Film Festival, September 10, 2016
The latest and greatest on Blu-ray and DVD, including Room, The Big Short, Carol, and many more.
A review of "Agnès Varda in California," the new box set from Criterion and Eclipse.
Agnès Varda will receive an honorary Palme d'Or at Cannes 2015.
A holiday gift guide compiling RogerEbert.com's reviews of Blu-ray/DVD releases and boxed sets and a few more books from 2014.
An interview with Damien Chazelle, writer/director of "Whiplash".
A piece on the best releases new to streaming services and Blu-ray in the last two weeks, including "Noah," "Scanners," and "Life After Beth."
A ranking of the ten best winners of the Palme d'Or before 2014 adds a new film to the exclusive club.
Walter Biggins defends Armond White, the City Arts critic and editor who was recently expelled by the New York Film Critics Circle, as a provocative but necessary voice in movie criticism.
In France, the afternoon hours from five to seven are known as the hours when lovers meet. On this afternoon, nothing could be further from Cleo's mind than sex. She is counting out the minutes until she learns the results from tests she believes will tell her she is dying from cancer. Agnes Varda's "Cleo from 5 to 7" is 90 minutes long, but its clock seems to tick along with Cleo's.
Marie writes: As some of you may know, it was Roger's 70th birthday on June 18 and while I wasn't able to give the Grand Poobah what I suspect he'd enjoy most...
Siskel & Ebert fight over a toy train (1988)
by Barbara Scharres
Cannes has become hot and uncomfortably muggy in a way that has me thinking longingly of the blankets and socks of earlier in the week. As the festival closes in on the final days, I'm hoping for some big excitement on the screen.
When the stiff, futuristic Brandon Cronenberg film "Antiviral" played a few days ago, it gave me cause to look forward even more to today's premiere of "Cosmopolis" by his father David Cronenberg, anticipating that the contrast between generations would also point up the difference between a wannabe and a seasoned master. Boy, was I wrong. I'm sorry to say that they're both among the worst films I've seen here this year. I've never been this disappointed in a David Cronenberg film.
"Cosmopolis" opens with a shot of a row of white stretch limos parked on a city street. The interior of one of them will become a primary location in this film, functioning as the office away from the office for mega-millionaire money manager Eric Packer (Robert Pattinson), an arrogant and powerful 28-year-old. Seemingly inspired by the Occupy movement in the U. S., the story is set in New York in the near future (although what we see of the urban landscape never looks like anything but Toronto; even the CN Tower is seen in the background). The president of the United States is due at any moment, a situation tying up the streets with blockades and large-scale protests.