An article about "Jojo Rabbit" winning the TIFF Grolsch People's Choice Award and its director Taika Waititi wins the Ebert Director Award at the 2019 Toronto International Film Festival.
An interview with Oscar-winning actor Richard Dreyfuss and Deborah Kolar, daughter of Robert Shaw, about Steven Spielberg's "Jaws."
A dispatch from the 2018 Karlovy Vary International Film Festival, featuring coverage of closing night, a conversation with Barry Levinson, and reviews of "Putin's Witnesses," "Museum," "Climax" and "Cold War."
An interview with the director of "Approaching a Breakthrough" and a presentation of the short film.
Reviews and screenings of "Hair" and "Being There" at Ebertfest 2017, and Q&A with producers Michael Butler and Michael Hausman by Michael Phillips, Nate Kohn and Chaz Ebert; and with Oscar-nominated Caleb Deschanel by Simon Kilmurry and Scott Mantz.
A look back at the eighth annual TCM Classic Film Festival, which included screenings of nitrate prints, a conversation with Michael Douglas and much more.
A celebration of director David Lynch's filmography in anticipation of an upcoming retrospective at the IFC Center in New York.
A preview of the 54th New York Film Festival, including "Son of Joseph," "The Rehearsal," "Graduation," "Sieranevada" and much more.
Matt writes: In his captivating 2005 memoir, Kiss Me Like a Stranger, Gene Wilder reflected on his experience of making Mel Brooks' 1974 comic masterpiece, "Young Frankenstein." He likened making the picture to "taking a small breath of Heaven" each day, and that is what the film feels like every time I watch it. Wilder passed away on August 29th at age 83, leaving behind a timeless legacy that was celebrated at RogerEbert.com with Peter Sobczynski's beautiful obituary. Ebert himself gave four stars to several Wilder classics, including 1971's "Willy Wonka and the Chocolate Factory," 1974's "Blazing Saddles" and of course, 1974's "Young Frankenstein," a film that earned Wilder an Oscar nomination for the screenplay he co-authored with director Mel Brooks. In his review, Roger wrote that the film "shows artistic growth and a more sure-handed control of the material by a director who once seemed willing to do literally anything for a laugh. It’s more confident and less breathless."