You’ll shed a tear or two—especially if you’re a parent—and they’ll be totally earned.
* 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 latest on Blu-ray and DVD includes Personal Shopper, War for the Planet of the Apes, Spider-man: Homecoming, and Annabelle: Creation.
An interview with Stephen Cone, writer/director of "Princess Cyd."
An appreciation of "The Blackcoat's Daughter"; A letter to my mother; "Happy Campers" deserves classic status; Relevance of "The House is Black"; In praise of "Old Enough."
Looking back at "Donnie Darko" on the occasion of its 15th anniversary.
The RogerEbert.com staff says goodbye to Bill Paxton.
An interview with Will Speck and Josh Gordon, co-directors of "Office Christmas Party."
A recap of highlights of the 2016 New York Film Festival.
A look at "Wim Wenders: The Road Trilogy," a new Criterion release featuring "Alice in the Cities," "Wrong Move" and "Kings of the Road."
A guide to the latest on Blu-ray, including "The Texas Chainsaw Massacre 2" and "Only Angels Have Wings" (the first time those two movies have ever been in a sentence together).
An interview with co-writer/director Joachim Trier about "Louder Than Bombs."
A review of FX's new comedy, "Baskets."
An interview with "Drunk Stoned Brilliant Dead: The Story of the National Lampoon" director Douglas Tirola.
An interview with Alfonso Gomez-Rejon, director of Me and Earl and the Dying Girl.
A film teacher looks back on "The Breakfast Club," partly through the eyes of her students.
An interview with Alfonso Gomez-Rejon, director of the Grand Jury Prize-winning "Me and Earl and the Dying Girl."
Recent releases on Blu-ray.
Critic Carrie Rickey traces the evolution of women on film and behind the camera over the course of her career writing about film.
Contributor Susan Wloszczyna remembers her stepson and the role movies played in her relationship with him.
Marie writes: As the dog days of summer slowly creep towards September and Toronto starts getting ready for TIFF 2013, bringing with it the promise of unique and interesting foreign films, it brought to mind an old favorite, namely The Red Balloon; a thirty-four minute short which follows the adventures of a young boy who one day finds a sentient red balloon. Filmed in the Menilmontant neighborhood of Paris and directed by French filmmaker Albert Lamorisse, The Red Balloon went on to win numerous awards and has since become a much-beloved Children's Classic.
"The To Do List" may not be a film of great substance, but this comedy about a young girl’s strange, semi-erotic journey from untouched maiden to minx accomplishes something both rare and significant for a teen movie: it places a female character in the central role as unapologetic sexual aggressor.
When I saw, and immediately wrote about, Nicolas Winding Refn's "Drive," I knew almost nothing about it except the title and that Ryan Gosling was in it. I remembered that it had received acclaim at Cannes back in May (I did not recall that Refn had won the best director prize) and, as it turns out, I hadn't seen any of Refn's previous films -- although "Bronson" and "Valhalla Rising" had been recommended to me by friends. Since then, I've been reading up on "Drive" and have discovered so many fascinating little tidbits (many of which confirm my first impressions) that I decided to put together this little primer.
I recommend that you refrain from reading this until you've seen the movie, though.
Cited influences include: Grimm's Fairy Tales, John Hughes ("Sixteen Candles," "Pretty in Pink"), Sergio Leone, Alejandro Jodorowsky...
On the title font:
Refn: Me and Mat Newman, who edits all my movies, we stole that in the editing table from "Risky Business."
-- from an interview with Scott Tobias at The A.V. Club
CHAMPAIGN-URBANA -- Michael Tolkin, the writer-director of 1994's "The New Age," which played at Ebertfest on Thursday, surveyed the packed house from the stage of Champaign's historic Virginia Theater and said, "This now doubles the number of people who saw this film on its first release."
I said just about everything I had to say about the Oscars in a dozen or so tweets I filed the evening of the broadcast, in between juggling manual updates for a couple of stories on RogerEbert.com (including Roger's live-tweets of the show) and approving Oscar comments on Roger's blog. I think I got out of my chair two or three times between 3:30pm and 9:30pm PST.
So, yeah, I made a few observations -- like this:
Instead of playing "I Am Woman" after Kathryn Bigelow's win, why didn't they play "Papa Can You Hear Me?" for Babs? #oscars
Elinor Burkett's Oscar performance marks the official arrival of the word "Kanye" (or "Kanyed") as a verb. http://j.mp/9XIwqy #oscars
Has "Based on the Novel Push by Sapphire" become the new "Electric Boogaloo"?
Live-tweeted from Los Angeles:
HOLLYWOOD — "The Hurt Locker," a film that was made with little cash but limitless willpower, defeated the highest-grossing film in history and won the best picture Oscar here Sunday night. The director of the spine-chilling war drama, Kathryn Bigelow, became the first woman to ever win the best director Oscar. James Cameron, director of "Avatar" — and her former husband — cried all the way to the bank.