A few words on the loss of a great writer/director, Lynn Shelton.
Matt writes: Early last month, I had the tremendous honor and joy of interviewing one of my lifelong heroes, Julie Andrews, and her amazing daughter, Emma Walton Hamilton, for RogerEbert.com. The conversation was originally intended to run during the week of Andrews' AFI Life Achievement Award ceremony (which was scheduled for this past Saturday, April 25th), but after it was postponed due to the COVID-19 pandemic, we decided to release the article yesterday in anticipation of Andrews and Hamilton's new podcast, "Julie's Library," which premieres tomorrow. Our conversation also covers the pair's latest book, Home Work: A Memoir of My Hollywood Years, their excellent Netflix series, "Julie's Greenroom" and their cherished memories of Jim Henson and the Muppets.
What the writers of RogerEbert.com have been watching while being stuck at home.
A preview of the horror film festival Cinepocalypse, starting this week at the Music Box in Chicago.
A tribute to Debra Winger, on the occasion of her first leading role in over 20 years in this week's "The Lovers."
An interview with writer/director Damien Chazelle and actress Rosemarie DeWitt about their new musical "La La Land," dreams, artistic competition, rejection and more.
A list of films and special events to check out when attending this year's Chicago International Film Festival.
A preview of the Chicago Critics Film Festival, featuring "The End of the Tour," "Me & Earl & the Dying Girl," "The Overnight," "Digging For Fire," "Results," and much more!
A review of the new HBO mini-series "Olive Kitteridge" with Frances McDormand and Richard Jenkins.
Sam Fragoso talks to Lynn Shelton about improvisation, her first time directing a script written by someone else
For serious cinema fans, romantic comedy have become dirty words in the post-Meg Ryan era. That's what makes the films of Seattle-based indie writer-director Lynn Shelton so refreshing: They're romantic and comedic without ever being formulaic.
Marie writes: Widely regarded as THE quintessential Art House movie, "Last Year at Marienbad" has long since perplexed those who've seen it; resulting in countless Criterion-esque essays speculating as to its meaning whilst knowledge of the film itself, often a measure of one's rank and standing amongst coffee house cinephiles. But the universe has since moved on from artsy farsty French New Wave. It now prefers something braver, bolder, more daring...
Marie writes: For those unaware, it seems our intrepid leader, the Grand Poobah, has been struck by some dirty rotten luck..."This will be boring. I'll make it short. I have a slight and nearly invisible hairline fracture involving my left femur. I didn't fall. I didn't break it. It just sort of...happened to itself." - Roger
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Great Movies
