One never senses judgment from Dano, Kazan, Gyllenhaal, or Mulligan—they recognize that there’s beauty even in the mistakes we make in life. It’s what makes…
* 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 deep dive into the acting career of Glenn Close, celebrating a performer who gets more out of stillness than almost any other actor.
A review of season three of Showtime's great Billions.
A tribute to the late, great John Mahoney.
An article about the 2017 Alliance of Women Film Journalists' EDA Award Winners.
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.
A look at the career of Willem Dafoe.
Reviews from the Toronto International Film Festival of the latest by Louis C.K., Scott Cooper, Angela Robinson and Melanie Laurent.
A preview of the 2017 Toronto International Film Festival, which starts tomorrow.
A tribute to Debra Winger, on the occasion of her first leading role in over 20 years in this week's "The Lovers."
An interview with the legendary Sam Schacht about the art of Method Acting.
A classic thriller that moves with a sense of purpose.
An article about Ebertfest, Roger Ebert's Film Festival 2017 passes, which are now on sale.
The first films announced for the 2016 Toronto International Film Festival.
An excerpt from the July 2016 issue of Bright Wall/Dark Room about Steven Spielberg and "Empire of the Sun."
Roger's Favorites: Jane Campion, writer/director of "The Piano."
Roger's Favorites: writer/directors Terrence Malick and Charlie Kaufman.
An interview with Benjamin Walker and Teresa Palmer, the stars of "The Choice."
With the release of Anomalisa, previous Charlie Kaufman masterpieces are coming back to the big screen.
Contributors to RogerEbert.com each list their favorite films of 2015.
An article on Ebertfest 2016 passes available for purchase on November 2nd.
An appreciation of Manoel de Oliveira on his passing.
An interview with Benedict Cumberbatch.
Passes for Ebertfest 2015 will go on sale Saturday, November 1st.
A report from the New York Comic-Con previewing the upcoming films, "Penguins of Madagascar" and "Home."