
A Hidden Life
It’s one of the year’s best and most distinctive movies, though sure to be divisive, even alienating for some viewers, in the manner of nearly…
It’s one of the year’s best and most distinctive movies, though sure to be divisive, even alienating for some viewers, in the manner of nearly…
Bombshell is both light on its feet and a punch in the gut.
Roger Ebert on James Ivory's "Howards End".
"The Ballad of Narayama" is a Japanese film of great beauty and elegant artifice, telling a story of startling cruelty. What a space it opens…
An article about today's noon premiere of a new movie about architect Benjamin Marshall at the Gene Siskel Film Center.
An article about the screening of Horace Jenkins' "Cane River" on Friday, November 1st, at the Academy Film Archive in Los Angeles.
Scout Tafoya's video essay series about maligned masterpieces celebrates Steven Soderbergh's Solaris.
An article about today's noon premiere of a new movie about architect Benjamin Marshall at the Gene Siskel Film Center.
An FFC on Gavin Hood's Official Secrets.
A celebration of Yasujiro Ozu, as written by a Far Flung Correspondent from Egypt.
A tribute to the Oscar nominated character actor, Danny Aiello.
Our contributors share their Top 10 lists for the best films of 2019.
* 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.
The screenings of "Norman Lear: Just Another Version of You," and Ben Lear's "They Call Us Monsters" at Ebertfest 2017.
An interview with the one and only Norman Lear.
A review of the History Channel remake of the landmark mini-series, "Roots."
An article highlighting three films at Sundance 2016.
View image John Amos in "Coming to America."
From Odienator's Black History Mumf love-fest for Eddie Murphy's "Coming to America" at Big Media Vandalism, "You Ain't Never Met Martin Luther The King."
His caption for this photo : "Yeah, Juno got that hamburger phone idea from me. Bitch ain't even give me credit, neither, Florida!" (Please note: The man's bun has no seeds.)
Writes Odie: "Coming to America" may be the Blackest comedy ever made, and it’s little touches like McDowell’s [the low-rent, individually owned McDonald's knock-off] that elevate it past the mild amusement it seems to garner from White viewers into the upper echelon of hilarity it occupies for us. It crushes us under the weight of familiarity, to the point where a musical cue or a mere image is enough to inspire raucous laughter. There are so many in-jokes that the film is like an old Negro Spiritual: everybody can hear the music, but only we can understand the code in the words.