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For Women in Film, 2017 Produced a Bloom of Optimism on the Horizon
Has Tarantino produced a “legacy of greatness”?
The 20 Best Films of 2025 So Far
Michael Douglas to Present Newly Restored “One Flew Over the Cuckoo’s Nest” at Karlovy Vary International Film Festival
Female Filmmakers in Focus: Marva Nabili on “The Sealed Soil”
Humanizing the Sharks: Sean Byrne on “Dangerous Animals”
Cannes 2025: Our Coverage of Neon’s Remarkable Six-Film Palme d’Or Streak
The Red Carpets of the 2025 Chicago Critics Film Festival
Cannes 2025: Left-Handed Girl, Sirât
Cannes 2025 Video #1: Robert De Niro Receives Honorary Palme d’Or and Advocates Protecting Democracy and Art
The 2025 TCM Classic Film Festival
The Florida Film Festival: An Oasis for Creative Souls
Robert Daniels & Odie Henderson Talk Sinners
The Second Season of “Andor” Stands Tall
Chicago Latino Film Festival 2025: Highlights of a Creative Force
Female Filmmakers in Focus: The Films of Euzhan Palcy
Ebertfest Announces Remaining Films and Special Guests Attending the 2025 Festival
SXSW Film Festival 2025: The Rivals of Amziah King, Hallow Road, The Dutchman
The Idealist’s Journey
From Gena to Annette: Great Actresses with Oscar Nominations but No Wins
Ebertfest Adds Barbara Kopple’s Academy Award Winner “Harlan County U.S.A.”
Pixar’s Charming but Compromised “Win or Lose” Catches A Few Foul Balls
Talkin’ About His Generation: New Book Chronicles the Making of Millennial Touchstone “Superbad”
Brenda Robinson, Acting President of Film Independent, Set to Preside Over 40th Spirit Awards; Aidy Bryant Cheerfully Returns as Host
In the Name of Friendship: Matthew Rankin on “Universal Language”
“Anora,” “Shōgun” Win Big with Critics Choice Awards
Life, the Movie: Why Documentary Filmmaking Should Return to, You Know, Documenting Stuff
“El Norte” Screening Commemorates Sundance Institute History at Pivotal Moment
10 Great Performances from Sundance 2025
NBC’s “The Hunting Party” is One of the Most Insulting Network Shows in Years
Sundance 2025: Sabar Bonda (Cactus Pears), DJ Ahmet, André Is an Idiot
Sundance 2025: It’s Never Over, Jeff Buckley; Heightened Scrutiny; Third Act
Sundance 2025: Rebuilding, Together, Peter Hujar’s Day
Sundance 2025: Sunfish (and Other Stories on Green Lake), Plainclothes
Ten Shocking Omissions from the 2025 Oscar Nominations
Apple TV+ Misses the Mark With Conspiracy Thriller “Prime Target”
Somehow, James Gunn Always Gets You: An Appreciation of “Creature Commandos”
This is Just the Beginning: Pamela Anderson on “The Last Showgirl”
Happy New Year from Chaz Ebert and All of Us at RogerEbert.com
14 Underrated Movies of 2024
The 25 Best TV Series of 2024
My Night at the Critics Choice Celebration of Black Cinema and Television
Plant the Tree: RaMell Ross, Ethan Herisse, Brandon Wilson, and Aunjanue Ellis-Taylor on “Nickel Boys”
Hulu Stumbles with Warmed-Over Espionage Actioner “Paris Has Fallen”
Home Entertainment Guide: November 2024
A Sense of Freedom: Filmmaker and Teacher Bart Weiss Talks About his Book “Smartphone Cinema”
Black Harvest Film Festival 2024: Disco Afrika, It Was All a Dream, Dreams Like Paper Boats
Appreciating the Brushstrokes: Pre-Computer Animation and the Human Touch
J-Horror Lives: Introducing “Missing Child Videotape” Director Ryota Kondo
Tokyo International Film Festival 2024: Orang Ikan, Missing Child Videotape, Kiyoshi Kurosawa
HBO’s “Like Water for Chocolate” is Downright Sumptuous
Breakfast Is Served—Again: Alan Rudolph on the reissue of “Breakfast of Champions”
Finding Mr. Christmas: Jonathan Bennett on Hallmark’s New Reality Competition
The Steady, Inevitable Decline: Sideways at 20
Netflix’s “Tomb Raider: The Legend of Lara Croft” Gives Life to Iconic Character
Peacock’s Frustrating “Teacup” Feels Only Half-Full
Home Entertainment Guide: September 2024
Chaz Ebert, CEO of RogerEbert.com, Makes Directorial Debut with “Wellness Warrior”
Transcending Hell on Earth in Larisa Shepitko’s “The Ascent”
Fantastic Fest 2024: U Are the Universe, Planet B, The Rule of Jenny Pen
Pull the String: Larry Karaszewski Remembers “Ed Wood” at 30
A Cinematic Partnership for the Ages: James Ivory and Director Stephen Soucy on Telling the Merchant Ivory Story
Wrapping Up My Experiences at the 2024 Telluride Film Festival
Venice Film Festival 2024: The Biennale College
Martha’s Vineyard African American Film Festival 2024: Highlights of a Joyous Event
Home Entertainment Guide: August 2024
Albert Brooks Enriches Criterion Collection with “Real Life” and “Mother”
13 Films Illuminate Locarno Film Festival’s Columbia Pictures Retrospective
In Memoriam: Alain Delon
Conversation Piece: Phil Donahue (1935-2024)
Subjective Reality: Larry Fessenden on Crumb Catcher, Blackout, and Glass Eye Pix
One Big Fortune: Remembering Corey Yuen
The Texture of Night: How Collateral Revolutionized Movies
Home Entertainment Guide: July 2024
The Future Was Now Warps Through the Seminal Sci-Fi Summer of 1982
Losers Win: Guardians of the Galaxy Turns 10
SDCC 2024: Back Bigger and Better
The Hard Road: Alex Cox on Crowdfunding, Success, and a Life in Independent Filmmaking
Transplendent: Shelley Duvall (1949-2024)
Anchorman Wouldn’t Have Been Nearly as Great Without Christina Applegate
Big, Big, Big, Big Movies: Jon Landau (1960-2024)
Netflix’s “Receiver” Should Work for NFL Fans Despite a Predictable Playbook
Flying to the Moon: Ten Films About the Apollo Program
Some Material May Be Inappropriate: The PG-13 Rating at 40
The Hard Way, Or My Way? RIP Bill Cobbs (1934-2024)
Home Entertainment Guide: June 2024
It’s About Reshaping: David Kirkman on Underneath: The Children of the Sun
Black Out: The Disappearance of Black Couples in Advertising
58th KVIFF Welcomes Viggo Mortensen, Steven Soderbergh, Clive Owen, And More
Juneteenth Film Festival Returns For A Powerful Second Year
What My Mother Didn’t Tell Me About College
The Presumed Innocent Movie Was a Highlight of Hollywood’s Page-Turner Era
How Cold War Thrillers Expressed Presidential Campaign Concerns
Hulu’s Queenie is a Masterful Study of Self-Growth
A Larger Kind of Career: Morgan Spurlock (1970-2024)
They Are the Best of the Best: Glen Powell on The Blue Angels
Always a Rebel: Alessandro Nivola on The Big Cigar
Cannes 2024: Megalopolis, Bird, The Damned, Meeting with Pol Pot
