A report on the tenth anniversary of the African American Film Critics Association's awards ceremony, held February 6th.
A report on the premieres of the George Clooney's Suburbicon and James Toback's The Private Life of a Modern Woman from Venice.
An interview with actress Gena Rowlands on the occasion of a John Cassavetes/Rowlands retrospective at NYC's Metrograph.
An in-depth preview of the upcoming 70mm film festival occurring at Chicago's Music Box Theatre from February 19 to March 10.
A Cannes report on the newest from Corneliu Porumboiu.
Roger Ebert's essay on film in the 1978 edition of the Britannica publication, "The Great Ideas Today."
A holiday gift guide compiling RogerEbert.com's reviews of Blu-ray/DVD releases and boxed sets and a few more books from 2014.
Oliver Stone will never give up. "Under the Skin" star on stigmas; Ron Howard reflects on his career; "Breaking the Waves" arrives on Blu-ray; A look back at "National Velvet."
Andrew Sarris, who loved movies, is dead at 83. He was the most influential American film critic of his time, and one of the jolliest. More than anyone else, he was responsible for introducing Americans to the Auteur Theory, the belief that the true author of a film is its director. Largely because of him, many moviegoers today think of films in terms of their directors.
Marie writes: I have no words. Beyond the obvious, that is. And while I'm okay looking at photos, the video.... that was another story. I actually found myself turning away at times, the suspense too much to bear - despite knowing in advance that he's alive and well and there was nothing to worry about. The bottom of my stomach still fell out...
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Calling yourself the author of the year's biggest novel,'' Erich Segal said, "is like calling yourself the world's greatest newspaper. It makes it sound like nobody else will say it for you, so you gotta say it for yourself . . . "
HOLLYWOOD - There is nobody who can tell you what Michelangelo Antonioni's new film is about, not even Antonioni. On a quiet Saturday morning, he sits curled at one end of a sofa and talks about the futility of it all.
Fourteen months we were trying to get someone to believe in that picture," Raymond Stross said. "We had our own money in it. All of our money. Everything except the house. And all the time people were telling us, make a Hollywood picture. Make a commercial picture. 'The Fox' will never make a dime."
"Directing really turns me on," Russ Meyer was saying.
When Bonnie and Clyde get killed, a girl in the third row asked, what should we feel - relief or sympathy? "Yeah, sure," David Newman said.
Andrew Sarris tells the story of a Sam Goldwyn press conference at which a reporter incautiously began: "When William Wyler made 'Wuthering Heights'..." Goldwyn interrupted angrily: "I made 'Wuthering Heights.' Wyler only directed it."
The first thing that happened to Stanley Kramer after he walked through the door of the Old Town Saloon was that a young lady said: "You Stanley Kramer? I hated your movie."
For an hour the screen was filled with clips from the movies of 37 years. Garbo in "Camille." Katharine Hepburn in "The Philadelphia Story" and again with Spencer Tracy in "Adam's Rib." Ingrid Bergman in "Gaslight." Audrey Hepburn in "My Fair Lady." And, of course, Judy Garland in "A Star Is Born."
