Hit and Run
Written by
Shepard
Shepard Movie Reviews
Blog Posts That Mention Shepard
The Look and the Voice: On Sam Shepard’s Definitive Performance in “The Right Stuff”
The frontier in his eyes: Sam Shepard, 1943-2017
Lookin’s Free: Joe Don Baker (1936-2025)
Screwball in Vermont: “Baby Boom”
This is Just the Beginning: Pamela Anderson on “The Last Showgirl”
December 2024 Blu-Ray Guide: “The Wild Robot,” “Conclave,” “Alien: Romulus,” More
On the Trail: India Donaldson on Good One
Flying to the Moon: Ten Films About the Apollo Program
Living Through Words: Ethan Hawke on His Career, Poetry, and Wildcat
Always a Rebel: Alessandro Nivola on The Big Cigar
Home Entertainment Guide: December 2023
Female Filmmakers in Focus: Meg Ryan on What Happens Later
Roger’s Top Ten Lists: Best Films of the 1980s
Mass Effect Legendary Edition Gets the Squad Back Together
Home Entertainment Guide: February 2021
Sundance 2021 Announces Virtual Competition, Premiere, Midnight Titles and More
The Right Stuff is an Unexpectedly Gripping Workplace Drama About the Space Race
Venice Film Festival 2020: The World to Come, Dear Comrades, Apples
A Canvas of Veracity: Aaron Schneider on Directing Greyhound
Bright Wall/Dark Room October 2019: A New Spirit for ’75! by Ethan Warren
Happy Birthday, Roger: A Celebration of Our Favorite Writing
From Don’t Look Back to Rolling Thunder Revue: The Cinema of Bob Dylan
Chicago Critics Film Festival Announces Full Schedule, Special Guests
30 Minutes On: “I Knew it Was You: Rediscovering John Cazale”
CIFF 2018: Friedkin Uncut, The Great Buster
45 Movies to see at the 54th Chicago International Film Festival
Inclusion Rider: Backstage at the 90th Academy Awards
CIFF 2017 Preview: 45 Films to See
We Should Be So Lucky: A Tribute to Harry Dean Stanton
Harry Dean Stanton: 1926-2017
Wim Wenders to be Honored at TIFF Ebert Tribute
Scientific Cinema: Michael Almereyda on “Marjorie Prime”
“Wet Hot American Summer: Ten Years Later” Continues Legacy of Cult Comedy Classic
A Beautiful Fantasy: On the 30th Anniversary of “Baby Boom”
Living Truthfully Under Imaginary Circumstances: Sam Schacht on Method Acting
Non-Stop Action, Festival Favorites and More: A Winter 2017 Film Preview
Slippery as the Dickens: Peter Bogdanovich on “They All Laughed”
Telluride 2016: A Cinematic High
30 Minutes on: “Midnight Special”
Berlin 2016: “Midnight Special”
The Individual Top Tens of 2015
Home Entertainment Consumer Guide: December 3, 2015
Not for the Pixar Crowd: Ralph Bakshi on “Last Days of Coney Island”
A Recap of the 2015 Middleburg Film Festival
Flicker Alley’s Mind-Blowing New “Masterworks Of American Avant-Garde Experimental Film 1920-1970”
Who’s Who In Reviews: Matt Zoller Seitz
If I Had an Emmy Ballot 2015
TV Review: USA’s “Complications,” TNT’s “Proof,” ABC’s “The Astronaut Wives Club”
Four-Star Reviews of 2015
Netflix Launches Your Next Obsession in Thriller “Bloodline”
Terrence Malick’s Cathedrals of Cinema: Excerpt from “Faith and Spirituality in Masters of World Cinema, Vol. 3”
Home Entertainment Consumer Guide: February 4, 2014
Sundance 2015: “I Am Michael,” “True Story,” “Mississippi Grind,” “Digging For Fire”
Home Entertainment Consumer Guide: October 9, 2014
Sundance report: “Frank,” “Cold in July” and “Blue Ruin”
“GET THE PICTURE!”: Public Nominations to the National Film Registry
Toronto International FIlm Festival 2013: Day Five
Free sample of Ebert Club Newsletter
Days of Ebertfest: The 2013 schedule
Andy Ihnatko on the Moon
Days of Heaven: “Somewhere, I don’t know, over there…”
TIFF 2007: Robert Zimmerman Bob Dylan Revisited
Chaos reigns: Out-foxing Fox
Santa Barbara 2: Of hippos and red carpets
With Great Power: Stan Lee, superhero
♫ In the chapel bells are ringing ♫
I’m still not all here
On Leonardo DiCaprio in “The Aviator”
Ebert’s Cannes 2005 Photo Album
Cannes coda: Why it’s all worth it
Sundance #2: ‘The Matador’ springs a sunny surprise
‘Project’ reflects proudly on role of Sundance
The film’s the thing Telluride fest gives nod to big movies on small screen
Believe it or not
Icon of the ’70s shifts into 2nd phase of career
Once again, a ‘Player’
‘Vincent’ nudges director Robert Altman into ’90s
Chicago has a place in John Malkovich’s heart
Why “rent it” is terrible advice
