An interview with author Barry Gifford and actor Lili Taylor about their new film, Roy's World: Barry Gifford's Chicago, directed by Rob Christopher.
A fond look back at photos of past Ebertfest gatherings as well as the 20th anniversary Ebertfest video, in preparation for resuming the film festival September 8-11, 2021.
A look back at RKO 281, a previous film about the making of Citizen Kane.
An announcement of passes going on sale Friday, November 1st, for the next Ebertfest Film Festival that takes place April 15-18, 2020, in Champaign, Illinois.
An overview of twelve films in the 2019 Venice Film Festival that get my thumbs-up vote.
A look back through Christian Bale's filmography, highlighting five roles that define his career.
Chaz Ebert reveals her list of movies from 2018 to see before awards season 2019.
There's a moment when you get lost in a memory so intense that when you emerge, you aren't sure if you've been spacing out for a second or a minute. That's where Nicolas Roeg's cinema lived.
A review from AFI FEST of the new Netflix film Bird Box, starring Sandra Bullock and directed by Susanne Bier.
A deep dive into the acting career of Glenn Close, celebrating a performer who gets more out of stillness than almost any other actor.
A tribute to the late, great John Mahoney.
As soon as I heard that Jordan Peele's debut feature had the plot of an edgy indie romantic comedy but was in fact "a horror movie," I knew it was going to be terrific. There was just no way it couldn't be. I rarely feel this confident about a film sight-unseen, but as a longtime fan of Peele, it seemed clear that he knew exactly what his movie was about a deep level. "A black man meets his white girlfriend's parents for the first time; it's a horror movie" is the kind of pitch that might earn a delighted "I'm down, brother!" chuckle from the father of said white girlfriend, a brain surgeon played by Bradley Whitford who tells the hero Chris (Daniel Kaluuya) that he would vote for Obama a third time if he could. But for all its laughs, both subtle and broad—and for all its evident familiarity with crowd-pleasing yet grimly clever '80s horror comedies like "They Live!", "Fright Night," "Reanimator," "The People Under the Stairs," "The Hidden," "Child's Play" and other movies that people in their 30s and 40s saw multiple times at dollar theaters and drive-ins and on cable—"Get Out" is no joke. It made all as much money as it did because everyone who saw it, including the ones who only went because everyone else they knew had already seen it, instinctively sensed that it was observing this moment in American history and capturing it, not just for posterity's sake or for perverse entertainment value but as monument and warning.
An article announcing the 20th Anniversary of Ebertfest April 18-22, 2018 and tickets on sale November 1st.
Great Movies
