You’ll shed a tear or two—especially if you’re a parent—and they’ll be totally earned.
Far flung correspondent Seongyong Cho writes about a warm contemporary romance drama from South Korea.
A first report on three films from the opening days of Fantasia 2017.
A report on the opening day press conference for Cannes 2017 and the premieres of "Ismael's Ghosts" and "Loveless."
A video preview of this year's Cannes Film Festival!
A report on Day 2 of Ebertfest 2017.
FFC Seongyong Cho looks at Park Chan-wook's "The Handmaiden," which will be playing this Thursday at Ebertfest.
An article announcing the final slate of films scheduled to be screened at Ebertfest 2017.
The Chicago Film Critics Association have announced their picks for the best in films and performances in 2016.
The staff reveals their individual picks for the best films of 2016.
The nominees for the 2016 Chicago Film Critics Association's annual awards have been announced.
On five films that premiered at Cannes and made their way to this year's TIFF, including the latest from the Dardennes, Park Chan-wook, Andrea Arnold, and more.
A preview of the 2016 Toronto International Film Festival.
The first films announced for the 2016 Toronto International Film Festival.
Three more films from Cannes 2016, including the latest from Park Chan-wook and Andrea Arnold.
An interview with Alfonso Gomez-Rejon, director of Me and Earl and the Dying Girl.
New era of multicultural television; Birdmen of Tinseltown; Ten required movies for 'Mad Men' cast and crew; Nimoy's photos changed my life; Nick Kroll is leaving because he can.
A Sundance review of the great "Me and Earl and the Dying Girl."
China's military says "Pacific Rim" is American propaganda; the nudist colony member who just won't leave; a guide to Craigslist crime; remembering cinematographer Vadim Yusov; a case for the doofus Batman of yore; the 50th anniversary of MLK's "I Have a Dream Speech"; Park Chan-wook directs a music video.
The new science fiction action film from Bong Joon-ho ("The Host," "Mother") defies the odds by turning yet another dystopian future into something thrilling and distinctive.
This is a free sample of the Newsletter members receive each week. It contains content gathered from recent past issues and reflects the growing diversity of what's inside the club. To join and become a member, visit Roger's Invitation From the Ebert Club.
Marie writes: Not too long ago, Monaco's Oceanographic Museum held an exhibition combining contemporary art and science, in the shape of a huge installation by renowned Franco-Chinese artist Huang Yong Ping, in addition to a selection of films, interviews and a ballet of Aurelia jellyfish.The sculpture was inspired by the sea, and reflects upon maritime catastrophes caused by Man. Huang Yong Ping chose the name "Wu Zei"because it represents far more than just a giant octopus. By naming his installation "Wu Zei," Huang added ambiguity to the work. 'Wu Zei' is Chinese for cuttlefish, but the ideogram 'Wu' is also the color black - while 'Zei' conveys the idea of spoiling, corrupting or betraying. Huang Yong Ping was playing with the double meaning of marine ink and black tide, and also on corruption and renewal. By drawing attention to the dangers facing the Mediterranean, the exhibition aimed to amaze the public, while raising their awareness and encouraging them to take action to protect the sea.
Marie writes: And so it begins! A new year and another season of Film Festivals and Award shows. The Golden Globes have come and gone and in advance of quirky SXSW, there's Robert Redford's Sundance 2013...
Marie writes: "let's see what happens if I tickle him with my stick..."(Photo by Daniel Botelho. Click image to enlarge.)
Marie writes: It's that time of year again! Behold the shortlisted nominees for The Turner Prize: 2012. Below, Turner Prize nominee Spartacus Chetwynd performs 'Odd Man Out 2011' at Tate Britain on October 1, 2012 in London, England.
(click image to enlarge.)
When David Fincher's "Zodiac" (2007) was released in South Korean theaters, it was immediately compared to a famous South Korean film. That movie was also based on the infamous serial killing case still remaining unsolved to this day, and it is also about the desperation, frustration, and obsession of the people who wanted to find the man behind the horrific killings.
Quentin Tarantino's "Inglourious Basterds" (that's QT's spelling for you) has been greeted with love and hate since it played Cannes last spring. It opens Friday, and to prepare for the occastion, Matt Zoller Seitz, with an able assist from Keith Uhlich, has composed "Quentin Tarantino: Words in Action for L Magazine. It's very well put-together, and it lets Tarantino riff in his own words.
I find QT's work alternately exhilarating (his fluid direction) and exhausting/embarrassing (his cutesy, over-written dialog that all sounds the same -- a monolog divided up among "characters"). You can see and hear the whole range in this montage.
Bottom line: unfair as it probably sounds, Tarantino's still not quite the director I'd personally like him to be -- the Tarantino-influenced South Korean filmmaker Park Chan-Wook, whose movies are equally artificial but more emotionally engaging, is much more my speed. But while re-watching QT's films, I did find myself admiring elements that had previously bugged the hell out of me....