The Lion King
The movie is never less interesting than when it's trying to be the original Lion King, and never more compelling than when it's carving out…
Robert Townsend
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B.A.P.S. (1997)
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Directed by
Roger Ebert -
The Meteor Man (1993)
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Jefferson Reed, Written and Directed by
Roger Ebert -
The Five Heartbeats (1991)
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Duck, Written by
Roger Ebert -
The Mighty Quinn (1989)
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Maubee
Roger Ebert -
Hollywood Shuffle (1987)
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Bobby Taylor, Written, Produced and Directed by
Roger Ebert -
Ratboy (1986)
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Manny
Roger Ebert
* 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.
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Home Entertainment Consumer Guide: March 14, 2019
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An article about the 2017 Governors Awards ceremony.
Ebertfest 2017: "To Sleep with Anger," "Mind/Game: The Unquiet Journey of Chamique Holdsclaw"
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Ebertfest 2017, Day 2: No Transition Without Representation
A report on Day 2 of Ebertfest 2017.
Stars, Music, Movies and Compassion Converge: Ebertfest 2017 Preview
Chaz Ebert provides a preview of the 19th installment of Roger Ebert's Film Festival "Ebertfest" 2017.
Ebertfest Announces Final Slate of Films for 2017
An article announcing the final slate of films scheduled to be screened at Ebertfest 2017.
"Hair," "To Sleep with Anger" and More Set to Screen at Ebertfest 2017
An article about various films set to screen at Ebertfest 2017, including the opening night selection, "Hair."
AFI Fest 2016: Otto Preminger's "Carmen Jones"
A report from AFI Fest on a presentation of Otto Preminger's "Carmen Jones."
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The black film canon; Relevance of "Weiner"; Executive pay higher when women are on boards; Fate of female-driven Wall Street movie; Nate Moore puts Marvel in the black.
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By all accounts, 2013 has been a striking year for black film directors. But is the real story about black directors working in television?
The AFI Class of '92
May Contain SpoilersCall it a bloodbath. Not literally, of course, but it sure felt like one.
It was a Friday afternoon in late spring 1993 at The American Film Institute. The Class of 1992, which had pretty much killed itself making short films ("cycle projects") since starting the program in September, was waiting for a list. Dreading it, too. Because everybody'd known all year that of 168 "Fellows," as AFI calls them --- only 40 (or just 8 across 5 disciplines - directing, producing, cinematography, editing, production design) would be invited back, making that coveted Second Year cut for the opportunity to produce a second year film.
A top secret selection committee debated late into the day. Even I, then Special Projects Coordinator and right hand to the Dean of Studies, didn't know who was meeting. There was tension everywhere, clinging like the humidity of a Midwestern summer, as the committee decided, and the Fellows waited.
Townsend brings it back home for 'Heartbeats'
Now that I
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