I say this flick Shaft is a bad movie. Shut yo’ mouth.
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
An op-ed on the Cannes controversy surrounding Alain Delon.
A review of two political films from this year's Sundance. One is great, one is not.
A preview of the 2019 Sundance Film Festival.
A recap of the films that played at this year’s Telluride Film Festival, including First Man, Can You Ever Forgive Me?, Boy Erased and more.
A CIFF 2017 dispatch featuring reviews of Vanessa Redgrave's "Sea Sorrow," Laura Mora’s “Killing Jesús” and Milad Alami's "The Charmer."
An interview with Oscar-winning actress Vanessa Redgrave about her directorial effort "Sea Sorrow" and her work in "Blow-Up."
A dispatch from the New York Film Festival with works by Agnes Varda, Isabelle Huppert, and Vanessa Redgrave.
Chaz Ebert's Cannes Survival Guide; Kidman is Queen of the Croisette; Vanessa Redgrave turns director; Not enough female filmmakers; Dunst and Coppola on Hollywood sexism.
A review of the Sundance smash "Call Me By Your Name."
A look at what's coming to theaters this January through April.
Some of our favorite performances of 2016.
The staff reveals their individual picks for the best films of 2016.
The latest and greatest on Blu-ray, including Popstar, Neighbors 2, Captain America: Civil War, Blood Simple, Cat People and many more.
The year to date in cinema as seen by our contributors.
A preview of dozens of films coming out this summer.
The RogerEbert.com pick for the Best Original Screenplay of 2014.
Predictions for the eight major categories in the 87th Annual Academy Awards.
Lists from our critics and contributors on the best of 2014.
An interview with Jessica Chastain, star of "Miss Julie," opening tonight at the Chicago International Film Festival.
An interview with the legendary Liv Ullmann, at this year's TIFF with "Miss Julie."
A public school making a change for the better; Constant surveillance; A crime of love; Analyzing the interiors of The Grand Budapest Hotel; Eviscerations of classic novels.
Wes Anderson talks about the sources behind "The Grand Budapest Hotel", dining with his cast every night on location, and the comic gifts of Ralph Fiennes.
Saturday night is party night at the Toronto International Film Festival, when all the celebs and journalists float from soiree to soiree promoting or being promoted at.
I find it mind-boggling that something as trivial as an action film series could become such a constant presence in my life but that's been the case with the James Bond movies. It's not so much that their span happens to equal mine (to the very week, by the way) as I didn't start following them until I was 9 years old -- but ever since, they've always been around one way or another: from big theatrical openings to re-re-releases in the beat up movie houses of old; from Betamax tapings of network T.V. broadcasts (pausing the machine to edit the commercials), to the great looking discs of today. Every couple of years or so they have made their appearance and I've watched each one dozens of times regardless how good or bad they were, an odd fact for which I've had no reasonable explanation.
I'm double-posting my review of "Skyfall" to encourage comments, which my main site can't accept.
In this 50th year of the James Bond series, with the disappointing "Quantum of Solace" (2008) still in our minds, "Skyfall" triumphantly reinvents 007 in one of the best Bonds ever made. This is a full-blooded, joyous, intelligent celebration of a beloved cultural icon, with Daniel Craig taking full possession of a role he earlier played well in "Casino Royale," not so well in "Quantum"--although it may not have been entirely his fault. I don't know what I expected in Bond #23, but certainly not an experience this invigorating.