What She Said: The Art of Pauline Kael
Herself (archive footage)
Pauline Kael
Pauline Kael
Pauline Kael Movie Reviews
Blog Posts That Mention Pauline Kael
Rob Garver on What She Said: The Art of Pauline Kael
Quad Cinema Celebrates Pauline Kael with Losing It At the Movies Retrospective
Pauline Kael’s favorite film: “Menilmontant”
Why Pauline Kael never saw a movie twice
Trash and Art: Critics on/of Pauline Kael
Pauline Kael: On art & trash, life & lice
Kiss Kiss Bang Bang: Deeper into Kael
Pauline and Renata Go Showboating
Thumbnails 9/11/14
the Your Movie Sucks™ files
Kirk Douglas: I’ve killed so many Romans, so many Vikings, so many Indians…
Maria Schneider comes to America
Poll: Andrew Sarris and Your Greatest Films of All Time
Bordwell & Thompson: Crix of the ’00s!
Eyeless in Monument Valley, Part II
Oh dear, who’s killed film criticism this week?
Andrew Sarris, auteurism, and his take on his own legacy
A Fan’s Notes
Contrarianism Blog-a-Thon: Let the perversity begin!
Altman: Life beyond the frame
You don’t dismiss the dean
Who matters?
Queen Victoria in hot pants?
Are Movies Going to Pieces?
It Ain’t the Meat (It’s the Motion): Thoughtson movie technique and movie criticism
The Way Morgan Freeman was
Knocked up at the movies
Arthur C. Clarke: Star hero
Saint Agnes of Montparnasse
On orgasms
Film Criticism’s Crisis in the Letterboxd Era
Notes from the Red Carpet of the 2026 Chicago Critics Film Festival
My Dinner with Gene & Roger
Home Entertainment Guide: “Bring Her Back,” “The Phoenician Scheme,” “Vermiglio,” More
Rescuing a Movie About Angels From the Devil Himself: Kevin Smith on “Dogma”
Kevin Costner: The Last of the Cornball American Directors
Welcome to Chicago, Michał Oleszczyk!
Home Entertainment Guide: February 2024
Streetcorner Symphony: The Music of Mean Streets
Nell Minow on Women Writers Week 2023
Home Entertainment Guide: September 2022
Bright Wall/Dark Room June 2022: Most Wonderful by Nathaniel Missildine
The American Dream, Period: Philip Baker Hall (1931-2022)
TCM Film Festival 2022: Highlights of Getting Back to the Big Screen
Monica Vitti: 1931-2022
Bright Wall/Dark Room September 2021: It’s All Happening by Ethan Warren
KVIFF 2021: A Conversation with Ethan Hawke
I’m a Sound Man: Brian De Palma’s Blow Out at 40
Book Excerpt: Films of Endearment by Michael Koresky
Christopher Plummer: 1929-2021
The Great Performances of 2020
As Delightful As It Is Insufferable: On the Complex Joy of Diva
What We’ve Watched During the Quarantine
The 4-Star Films of 2019
The Best Films of the 2010s: Get Out
Doris Day: 1922-2019
Not Listening to No: An Interview with Elvis Mitchell
Jonathan Rosenbaum on His New Book Collection, Cinematic Encounters
Believing in Ingmar Bergman’s Cinema
Book Excerpt: It’s Okay With Me: Hollywood, The 1970s, and the Return of the Private Eye by Jason Bailey
Book Review: People Only Die of Love in Movies: Film Writing by Jim Ridley
Margot Kidder: 1948-2018
Bright Wall/Dark Room: Stigma & Myth in Belle Rive by Paul Fischer
Thumbnails 8/22/17
It’s About Us: The Legacy of “Bonnie and Clyde”
Keeping the Elegant End Up: “The Spy Who Loved Me” at 40
Charles Taylor on His New Book, “Opening Wednesday at a Theater or Drive-In Near You”
The Passenger: Bertrand Tavernier on “My Journey Through French Cinema”
Ridley’s Remake: “Alien” Through David’s Eyes
A musical soul: Jonathan Demme, 1944-2017
Three things I learned from Roger
The Unloved, Part 40: Rules Don’t Apply
A Beautiful Fantasy: On the 30th Anniversary of “Baby Boom”
The Unloved, Part 37: Zabriskie Point & The Mystery of Oberwald
Home Entertainment Consumer Guide: November 3, 2016
No Matter Where You Go, Here It Is: “The Adventures of Buckaroo Banzai Across the 8th Dimension” Hits Blu-ray
Bright Wall/Dark Room July 2016: “Watch the Skies: ‘Empire of the Sun’ and the Difficult Third Album” by Brian Doan
Roger’s Favorites: Agnès Varda
An Overview of the 18th Annual Ebertfest
A Celebration of His Work 2016: 13 of Roger’s Best Reviews
Critic’s Notes: Owen Gleiberman on “Movie Freak: My Life Watching Movies”
Why Leo winning an Oscar for “The Revenant” would be bad for acting
The Ragged Charm and Undeniable Greatness of “Chimes At Midnight”
Anton Ego and Jesse Eisenberg: some notes on the presumed objectivity of critics
Thumbnails 11/19/15
Thumbnails 10/16/15
Venice Film Festival 2015: Discovery and Rediscovery
Thumbnails 7/23/15
From Clint to Orson: A Conversation with Biographer Patrick McGilligan
The Dissolve: 2013-2015
Who’s Who In Reviews: Peter Sobczynski
Genius Walks: “Orson Welles’s Last Movie: The Making of ‘The Other Side of the Wind’” by Josh Karp
The Comedy Process: Adam Scott on “The Overnight”
A Critic Sat In a Dark Theater, Reflecting on Ebertfest
Thumbnails 4/23/15
A Celebration of His Work: 13 of Roger Ebert’s Most Essential Reviews
8 things about Albert Maysles
“Life Itself” Opens in Mexico
