Blog Posts That Mention Lucas
Lucas demonstrates potential of digital video with ‘Attack of the Clones’
Roger Ebert
George Lucas: Low-Budget Eye-Candy
Jim Emerson
George Lucas: Give it up
Jim Emerson
The People vs. George Lucas
Gerardo Valero
George Lucas is a techie at heart
Roger Ebert
Music to Make A Man Fly: The Power of John Williams’ Theme to “Superman”
Charlie Brigden
Light the Fuse: Lalo Schifrin (1932-2025)
Charlie Brigden
Friendship Is Insane: Eva Victor on “Sorry, Baby”
Zachary Lee
50 Years Later, Cooley High Is Still Alive
Odie Henderson
The 20 Best Films of 2025 So Far
The Editors
“Nine Perfect Strangers’” Second Season is Less Insightful, Still Somewhat Fun
Cristina Escobar
The 2025 TCM Classic Film Festival
Laura Emerick
What to Watch on Netflix: May 2025
Brian Tallerico
The Day James Bond Movies Died
Gerardo Valero
The Most Unsung Leading Man of His Generation: Val Kilmer (1959-2025)
Scout Tafoya
Can’t Stop the Vilanch: Legendary Comedy Writer Spills on the Creation of His Career’s Guiltiest Pleasures
Donald Liebenson
A Preview of the 2025 Rendez-Vous with French Cinema
Peter Sobczynski
January 2025 Blu-Ray Guide: “Hundreds of Beavers,” “Smile 2,” “Venom: The Last Dance,” and More
Brian Tallerico
Sundance 2025: Train Dreams; Sorry, Baby
Brian Tallerico
Sundance 2025: Sunfish (and Other Stories on Green Lake), Plainclothes
Brian Tallerico
2025 Sundance Film Festival Announces Ambitious Program
Brian Tallerico
“Indiana Jones and the Great Circle” is the Antidote to Modern Big-Budget Game Fatigue
Josh Broadwell
Black Harvest Film Festival 2024 Preview
Robert Daniels
CIFF 2024: On the Legacy and Importance of The Spook Who Sat by the Door
Robert Daniels
CIFF 2024: Rita, Listen to the Voices, Peacock
Peter Sobczynski
The Texture of Night: How Collateral Revolutionized Movies
Matt Zoller Seitz
SDCC 2024: A New Normal?
Jana Monji
Seven Samurai Continues Its Ride Through Cinema’s Past and Future
Brendan Hodges
Levan Akin on Making Films His Way, the Queer Art That Shaped Him, and His Touching New Drama Crossing
Tim Grierson
Some Material May Be Inappropriate: The PG-13 Rating at 40
Matt Zoller Seitz
Furiosa Doesn’t Feel Like Any Other Mad Max Film, and That’s What’s Wonderful About It
Matt Zoller Seitz
Cannes 2024: Normal Normal or Cannes Normal?
Jason Gorber
Cannes 2024 Video #8: Award Winners
Chaz Ebert
Cannes 2024: Sean Baker’s Anora wins Palme d’Or
Ben Kenigsberg
Cannes 2024: My Sunshine, Rumours, The Balconettes
Robert Daniels
Roger Corman’s Greatest Legacy Was Giving So Many People Their Big Break
Matt Zoller Seitz
Meanwhile in France…Cannes to Be Specific
Lisa Nesselson
A Preview of the 2024 Cannes Film Festival
Chaz Ebert
The Problem and the Solution: Why Palpatine from Star Wars is One of the Great Movie Villains
Matt Zoller Seitz
How The Phantom Menace Predicted Hollywood’s Prequel Future
Tim Grierson
A Plea for Someone to Save Megalopolis
Matt Zoller Seitz
On Luca, Tenet, The Invisible Man and Other Films from the Early Pandemic Era that Deserve More Big-Screen Time
Matt Zoller Seitz
Keith Law Wants You to Watch Better Baseball Movies
Tim Grierson
SXSW 2024: Dandelion, A Nice Indian Boy, I Don’t Understand You, I Love You Forever
Brian Tallerico
Avatar: the Last Airbender and What We Talk About When We Talk About Redemption
Mira Singer
The People Who Never Stopped Loving Tenet
Tim Grierson
I Used to Hate The Phantom Menace, but I Didn’t Know How Good I Had It
Matt Zoller Seitz
Berlin Film Festival 2024: Small Things Like These, Crossing, Cuckoo
Robert Daniels
Home Entertainment Guide: January 2024
Brian Tallerico
The Great Craft of 2023
The Editors
Home Entertainment Guide: November 2023
Brian Tallerico
Staying Connected: Gelila Bekele and Armani Ortiz on Maxine’s Baby: The Tyler Perry Story
Matt Fagerholm
Netflix’s Scott Pilgrim Takes Off is a Phenomenal Stand-Alone Anime Addition
Rendy Jones
Streetcorner Symphony: The Music of Mean Streets
Aaron Aradillas
Home Entertainment Guide: October 2023
Brian Tallerico
A TV Icon Leaves the Stage: Suzanne Somers (1946-2023)
Brian Tallerico
Disney+ Reboot of Goosebumps Slides from Promising Horror into YA Soap Opera
Rendy Jones
The Best Films of 2023 … So Far
The Editors
What Now: The Creative Potential in the End of the Superhero Craze
Brandon Towns
Tribeca 2023: Blood for Dust, Catching Dust
Brian Tallerico
Return of the Jedi Turns 40
Charlie Brigden
New York Philharmonic and Steven Spielberg Celebrate the Music of John Williams
Tomris Laffly
The Consummate Collaborator: Bill Butler (1921-2023)
Walter Chaw
Tiny Beautiful Things is a Tear-Jerking Exploration of the Mother Wound
Cristina Escobar
SXSW 2023: Confessions of a Good Samaritan, You Can Call Me Bill, Louder Than You Think
Brian Tallerico
True Lies Fails to Capture the Charm of the James Cameron Original
Brian Tallerico
Tom Luddy (1943-2023)
The Editors
The Internet Has Been My Co-Director: Kyle Edward Ball on Skinamarink
Isaac Feldberg
Willow Reboot on Disney Plus Makes for a Surprisingly Fun Ride
Clint Worthington
An American Story: Margaret Brown and Joycelyn Davis on Descendant
Robert Daniels
Stranger Things Ends with a Messy But Entertaining Pair of Episodes
Collin Souter
Home Entertainment Guide: June 2022
Brian Tallerico
A Look Back at Tribeca 2022: The Documentary Features
Peter Sobczynski
The Legacy of Gen-X Black Filmmakers
Brandon David Wilson
The Antagonism of Blackness in Netflix’s Stranger Things
Kaiya Shunyata
Star Wars Celebration 2022: Mando+, Light and Magic, Andor and More
Jana Monji
Cannes 2022: Godland, The Silent Twins, Mariupolis 2, Triangle of Sadness, Holy Spider
Jason Gorber
Mellody Hobson Receives 2022 Lincoln Leadership Prize
Matt Fagerholm
Home Entertainment Guide: May 2022
Brian Tallerico
Stranger Things Returns as Top-Notch Summer Entertainment
Collin Souter
No More Blue Tomorrows: David Lynch’s Inland Empire Returns to Theaters
Peter Sobczynski
Jesus, I Love to Shoot Film: The Siskel Film Center Pays Tribute to Haskell Wexler
Peter Sobczynski
TCM Film Festival 2022: Highlights of Getting Back to the Big Screen
Laura Emerick
Ebertfest 2022 Recap: A Golden Homecoming
Matt Fagerholm
A True Artiste: Lloyd Kaufman on His Career and His Final Film
Simon Abrams
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