This is rare, nuanced storytelling, anchored by one of Brad Pitt’s career-best performances and remarkable technical elements on every level. It’s a special film.
* 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.
An overview of twelve films in the 2019 Venice Film Festival that get my thumbs-up vote.
A preview of the 2019 Sundance Film Festival.
A look back through Christian Bale's filmography, highlighting five roles that define his career.
A look ahead at the 112 films that will play the Sundance Film Festival in January 2019.
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 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."