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.
Matt writes: Over this past Fourth of July weekend, we were saddened to learn of the passing of an enormously influential icon in the Chicago film community, Milos Stehlik (1949-2019), co-founder of Facets Multimedia, who passed away on Saturday at age 70. Chaz Ebert hailed him as one of cinema's biggest advocates and humanitarians.
A tribute to Doris Day.
A posthumous tribute to two male directors who encouraged audience identification with women onscreen and made opportunities for female film artists.
A tribute to Stanley Donen.
Anton Yelchin's parents speak out; 80th anniversary of "The Wizard of Oz"; R.I.P. Stephen Reinhardt; "Vice" and the creation of historical narratives; Aaron Sorkin on William Goldman.
Matt writes: In honor of the nominees being announced this morning for the 91st Academy Awards ceremony, let's analyze perhaps the most important "Oscar movie" of all time, "A Star Is Born." Bradley Cooper's awards contender is the fifth screen version of the story, and though it is a remarkable achievement in its own right, the best of them all still remains George Cukor's 1954 masterpiece starring Judy Garland in the greatest performance of her career.
An essay about the five screen versions of "A Star Is Born," and why George Cukor's 1954 masterpiece still reigns supreme.
The familiar story, told with a naturalistic sheen, strong songwriting, most of the old contrivances, and a few new ones.
Matt writes: In this final Ebert Club newsletter of the year, released to you on Christmas Day, we are sharing the RogerEbert.com staff's picks for the Top 10 Films of 2018.
Sheila O'Malley's ten best films of 2018.
An obituary for the one and only Jerry Lewis.
An interview with actress Gena Rowlands on the occasion of a John Cassavetes/Rowlands retrospective at NYC's Metrograph.
A report from the 2005 Cannes Film Festival.
A review of Woody Allen's new film, which just premiered at the 2016 Cannes Film Festival.
An article reflecting on 25 years at the movies by Roger Ebert.
A conversation with RogerEbert.com writers about their favorite animated films and programs.
A feature on Bing Crosby, including an interview with the director of a special "American Masters" about the legendary actor.
A preview of the 2014 Chicago International Film Festival.
The King of Comedy and Ms. 45; The one good Wayans brother movie; Looking back at the Richard Boone Show; Manny Farber and James Agee; A review of God's Not Dead.
A tribute to Mickey Rooney, 1920–2014.
Highlights of the 86th Annual Academy Awards.
The completion of our countdown of twelve great Chirstmas-set scenes from the movies. Check out #4–#1.
Susan Seidelman has been making films for over 30 years. Her work includes "Desperately Seeking Susan," the pilot for "Sex and the City," and her new sports comedy "The Hot Flashes." Her story is the story of women in Hollywood: a study in creativity, courage and strength. A profile by RogerEbert.com's Christy Lemire.
Marie writes: If you're like me, you enjoy the convenience of email while lamenting the lost romance of ink and pen on paper. For while it's possible to attach a drawing, it's not the same thing as receiving hand-drawn artwork in the mail. Especially when it's from Edward Gorey..."Edward Gorey and Peter Neumeyer met in the summer of 1968. Gorey had been contracted by Addison-Wesley to illustrate "Donald and the...", a children's story written by Neumeyer. On their first encounter, Neumeyer managed to dislocate Gorey's shoulder when he grabbed his arm to keep him from falling into the ocean. In a hospital waiting room, they pored over Gorey's drawings for the first time together, and Gorey infused the situation with much hilarity. This was the beginning of an invigorating friendship, fueled by a wealth of letters and postcards that sped between the two men through the fall of 1969."
The notion of a Christmas Show by John Waters is somehow alarming, as if the Big Bad Wolf had decided to perform as the Easter Bunny. Waters has made a career of cheerfully exploiting the transgressive and offensive. When he appears at the Harris Theater at 7:30 p.m. on Dec. 14, he promises to discuss such questions as whether Santa Claus is erotic, whether it's a gay holiday, and why stars on Christmas tours always seemed to go crazy onstage when they get to Baltimore.