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The 25 Best TV Shows of 2025
Sundance Film Festival Announces 2026 Line-Up
Cinema Is My Church: Rian Johnson on “Wake Up Dead Man: A Knives Out Mystery”
RescueFest Opens with Restoration of Steve Buscemi’s Wonderful “Trees Lounge”
Tokyo Film Festival 2025: Journey into Sato Tadao
Flying with Her Angels: Diane Ladd (1935-2025)
A Preview of the 2025 Black Harvest Film Festival
TIFF 2025: Motor City, I Swear, Canceled: The Paula Deen Story
“When the World Broke Open: Katrina and its Afterlives” Launches at MOMA
The Most Significant Movie Ever Made
“King of the Hill” Slides Right Back into Confidently Funny Rhythms
KVIFF 2025: Sand City, The Visitor, Better Go Mad in the Wild
Desire Never Goes Away: Sarah Friedland and Kathleen Chalfant on “Familiar Touch”
Blood and Soap Bubbles on the Surface of Netflix’s “The Waterfront”
The Rite to Save a Life
Lookin’s Free: Joe Don Baker (1936-2025)
Remembering Jan Dawson, My Mother-in-Law (Twice)
Robert Daniels & Odie Henderson Talk Sinners
Prime Video’s “The Bondsman” Takes Kevin Bacon on a Drab Trip to Hell and Back
Life Sustained by Desire: Alain Guiraudie on “Misericordia”
SXSW Film Festival 2025: The Rivals of Amziah King, Hallow Road, The Dutchman
True/False 2025: Seeds, River of Grass, How Deep Is Your Love
“El Norte” Screening Commemorates Sundance Institute History at Pivotal Moment
Sundance 2025: Bunnylovr, Atropia, Love, Brooklyn
Sundance 2025: Rebuilding, Together, Peter Hujar’s Day
Sundance 2025: If I Had Legs I’d Kick You, The Thing with Feathers, Rabbit Trap
Out of the Ashes: Let the 2025 Oscars Be a Telethon for Wildfire Relief
Sundance Film Festival 2025 Preview: 20 Films We Can’t Wait to See
The Metaphor Years: Writing Lessons from “The Twilight Zone”
Not Everything Needs to be for Sale: on the Integrity of the Watch Duty App
What’s gone can never be replaced: thoughts on Los Angeles, disasters, and the present moment
The Great Craft of 2024
2025 Sundance Film Festival Announces Ambitious Program
Our Film Has A Power: Basel Adra and Yuval Abraham on No Other Land
Chaz Ebert, CEO of RogerEbert.com, Makes Directorial Debut with “Wellness Warrior”
TIFF 2024: The Return, Riff Raff, The Friend
Telluride Film Festival 2024: Blink, Apocalypse in the Tropics, Carville: Winning is Everything, Stupid!
Fight or Flight: Jeremy Saulnier on Rebel Ridge
FX’s “English Teacher” Gets an Incomplete Grade for Now
Short Films in Focus: Welcome to the Enclave
The Hard Road: Alex Cox on Crowdfunding, Success, and a Life in Independent Filmmaking
Big, Big, Big, Big Movies: Jon Landau (1960-2024)
Hulu’s “UnPrisoned” Takes Bigger Swings In Its Self-Assured Second Season
Catching a Blackfamous White Whale on Broadway: Purlie Victorious Comes Home
Robert Daniels & Odie Henderson Talk Wild Wild West at 25
How Cold War Thrillers Expressed Presidential Campaign Concerns
A Dream for a Composer: John Debney on “The Garfield Movie” and “Horizon: An American Saga”
A Special Kind of Beauty: Viggo Mortensen on The Dead Don’t Hurt
Cannes 2024: Marcello Mio, Parthenope, Elementary
Living Through Words: Ethan Hawke on His Career, Poetry, and Wildcat
I’ve Never Seen Anything Like It Before: Roger Corman (1926-2024)
He’s Got Something Going On: David Proval on Mean Streets, and Acting for Martin Scorsese
O.J. Simpson Dies: The Rise & Fall of A Superstar
A Plea for Someone to Save Megalopolis
How The Ladykillers Kicked Off Tom Hanks’ Weirdest Year Two Decades Ago
Giancarlo Esposito Can’t Keep Overcrowded, Rushed Parish on the Road
True/False 2024: Coming Home Again
You’re Naked Without Us: A Report from the Costume Designers Guild
Dead Ringers: Rebirthing Body Horror
Stay Vigilant: Directors Camille Hardman and Gary Lane on Still Working 9 to 5
The Perfection of the Human Soul: The Cast of Groundhog Day Celebrates Harold Ramis
Female Filmmakers in Focus: Nancy Savoca on Household Saints
A Report from the Color Purple Special Screening with Oprah Winfrey
Female Filmmakers in Focus: Noora Niasari on Shayda
Bright Wall/Dark Room October 2023: Killing Time: 3:10 to Yuma & the Lonesome West by Nicholas Russell
A Goodbye to Shaft, Hollywood’s First ‘Bad’ Black Man: Richard Roundtree (1942-2023)
MOMA Launches Iranian Cinema Before the Revolution, 1925-1979
TIFF 2023: The Beast, Evil Does Not Exist, Shoshana, Green Border
Hollywood & The March on Washington: When Fame Overcame Fear
He Did It All: William Friedkin (1935-2023)
Meet the Writers of Black Writers Week 2023
Cannes 2023: Highlights of the Year’s Festival
The Fire is Gone: Kenneth Anger (1927-2023)
Cinema’s Man of Steel: Jim Brown (1936-2023)
Netflix’s Mulligan Tries to Find Comedy in Post Apocalyptic Cartoon
Ebert Symposium 2023 to Precede Ebertfest on April 18th & 19th
Empathy Machine: Diary of a Country Priest
Ebertfest 2023: Studio Head Jason Michael Berman and Director Edson Oda Open Festival with Nine Days
True/False 2023: Ebert Fellows on Their Favorites from This Year’s Event
SXSW 2023: Blackberry, Problemista, The Long Game
SXSW 2023: Only the Good Survive, The Wrath of Becky, It Lives Inside
Tragically Common: Jamie Dack, Lily McInerny and Jonathan Tucker on Palm Trees and Power Lines
Berlinale 2023 Highlights, Part One: She Came to Me, Blackberry, The Survival of Kindness
Book Excerpt: In the Time of Kiarostami: Writings on Iranian Cinema by Godfrey Cheshire
The Great Filmmaking Craft of 2022
The Great Performances of 2022
Something Comes Out of Me That Has a Fatherly Quality: Paul Dooley on His New Book Movie Dad
Isaac Feldberg’s Overlooked Films of 2022
Love is a Form of Resistance: Chinonye Chukwu & Danielle Deadwyler on Till
TIFF 2022: El agua, Maya and the Wave, All the Beauty and the Bloodshed
I’m Afraid of Other People and Myself: Christian Tafdrup on Speak No Evil
Female Filmmakers in Focus: Adamma Ebo and Adanne Ebo on Honk for Jesus. Save Your Soul.
Lyndall Hobbs Has Mixed Feelings about Back to the Beach
Five Movies to See OIT (Only in Theaters)
