Thoughts on the best of the New York Film Festival, including Joel Coen's The Tragedy of Macbeth, starring Denzel Washington and Frances McDormand.
Thoughts on a few films and a larger conversation with the director Bad Luck Banging or Loony Porn about the state of cinema.
An annotated table of contents featuring Chaz Ebert's video dispatches from the 2021 Cannes Film Festival.
Ben Kenigsberg reviews two films about the creative process, Mia Hansen-Løve's Bergman Island and Ryusuke Hamaguchi's Drive My Car, from Cannes.
Ben Kenigsberg reviews Paul Verhoeven's Benedetta and Joachim Trier's The Worst Person in the World from the Cannes Film Festival.
An update of the article dedicating Ebertfest 2018 to Roger Ebert and Mary Frances Fagan. And recognizing Ebertfest Volunteers Leonard Doyle, and Sherren (Sherry) Slade.
Matt writes: The 2017 Toronto International Film Festival just wrapped this past weekend, and screened an enormous array of enticing titles set for release this awards season. Click here for our complete festival coverage, including dispatches from Chaz Ebert, Brian Tallerico, Tina Hassannia, Vikram Murthi and Nick Allen.
Matt writes: One of the most praised films on RogerEbert.com this year has been David Lowery's audacious and unforgettable "A Ghost Story," reuniting the director with his "Ain't Them Bodies Saints" stars Rooney Mara and Casey Affleck. Brian Tallerico praised the picture upon his initial viewing of it at Sundance, and programmed it as the closing night selection at this year's Chicago Critics' Film Festival, where it played to a packed house. Tallerico later interviewed Lowery for the site, while Matt Zoller Seitz awarded the film four stars. Also worth a look is Noah Gittel's recent essay on Lowery and the "cinema of narrative displacement."
Sheila writes: In Roger Ebert's Great Movies review of Martin Scorsese's "Taxi Driver," he writes: "The technique of slow motion is familiar to audiences, who usually see it in romantic scenes, or scenes in which regret and melancholy are expressed--or sometimes in scenes where a catastrophe looms, and cannot be avoided. But Scorsese was finding a personal use for it, a way to suggest a subjective state in a POV shotPOV shot...one of Scorsese's greatest achievements in 'Taxi Driver' is to take us inside Travis Bickle's point of view." I came across a wonderful video that shows Scorsese's storyboards for "Taxi Driver" alongside the actual filmed scenes.