The House with a Clock in Its Walls
Black, more than anyone else, should have been the one to wind up The House with a Clock in Its Walls. Too bad he doesn't…
* 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.
A preview of the upcoming summer movie season, starring the 10 films we are most excited to see.
A review of the seventh season of "American Horror Story," the best in years.
The 25 films we're most excited to see during the fall of 2017.
A review of FX's new mini-series, "Feud: Bette & Joan."
Meryl Streep and other awards recipients shared their thoughts on an America under Donald Trump during last night's Golden Globes ceremony.
Our TV critic picks the best shows of 2016.
Some of our favorite performances of 2016.
Premieres, Midnights, Special Events and more have been announced for next month's Sundance Film Festival.
A new memoir from Oscar-nominated actor Bryan Cranston takes readers beyond a pursuit of fame and fortune.
The latest and greatest on Blu-ray, including Popstar, Neighbors 2, Captain America: Civil War, Blood Simple, Cat People and many more.
A preview of the 2016 Toronto International Film Festival.
A TV critic's picks for the best TV of 2015-16.
A review of FX's “The People vs. OJ Simpson: American Crime Story.”
The writers of RogerEbert.com on some of our favorite performances of 2015.
A review of the premiere of "American Horror Story: Hotel."
A final Telluride report on documentaries He Named Me Malala and Only the Dead See the End of War, along with two other highly-anticipated films.
What should be nominated for Emmys this year? Let us guide the way.
"American Horror Story" is back with its 4th outing, "Freak Show."
Picks for the best of the 2013-14 television season, in the form of a Dream Emmy ballot.
Alyssa Rosenberg considers the women on the big screen and the small screen in the past year.
"12 Years a Slave" and "The Butler" are part of a valuable subgenre of American film that dramatizes the fallacy of "Black respectability"—the notion that if African-Americans will only speak, dress and behave in a certain way, discrimination won't affect them, and they'll reap the American dream.
Marie writes: Last week, in response to a club member comment re: whatever happened to Ebert Club merchandize (turned out to be too costly to set up) I had promised to share a free toy instead - an amusement, really, offered to MailChimp clients; the mail service used to send out notices. Allow me to introduce you to their mascot...
Marie writes: The West Coast is currently experiencing a heat wave and I have no air conditioning. That said, and despite it currently being 80F inside my apartment, at least the humidity is low. Although not so low, that I don't have a fan on my desk and big glass of ice tea at the ready. My apartment thankfully faces East and thus enjoys the shade after the sun has crossed the mid-point overhead. And albeit perverse in its irony, it's because it has been so hot lately that I've been in the mood to watch the following film again and which I highly recommend to anyone with taste and a discerning eye.
Marie writes: It's no secret there's no love lost between myself and what I regard as London's newest blight; The Shard. That said, I also love a great view. Go here to visit a 360-degree augmented-reality panorama from the building's public observation deck while listening to the sounds of city, including wind, traffic, birds and even Big Ben.
This is a free sample of the Newsletter members receive each week. It contains content gathered from recent past issues and reflects the growing diversity of what's inside the club. To join and become a member, visit Roger's Invitation From the Ebert Club.
Marie writes: Not too long ago, Monaco's Oceanographic Museum held an exhibition combining contemporary art and science, in the shape of a huge installation by renowned Franco-Chinese artist Huang Yong Ping, in addition to a selection of films, interviews and a ballet of Aurelia jellyfish.The sculpture was inspired by the sea, and reflects upon maritime catastrophes caused by Man. Huang Yong Ping chose the name "Wu Zei"because it represents far more than just a giant octopus. By naming his installation "Wu Zei," Huang added ambiguity to the work. 'Wu Zei' is Chinese for cuttlefish, but the ideogram 'Wu' is also the color black - while 'Zei' conveys the idea of spoiling, corrupting or betraying. Huang Yong Ping was playing with the double meaning of marine ink and black tide, and also on corruption and renewal. By drawing attention to the dangers facing the Mediterranean, the exhibition aimed to amaze the public, while raising their awareness and encouraging them to take action to protect the sea.