Friedkin Uncut
Himself
Wes Anderson
Wes Anderson Movie Reviews
Hitchcock/Truffaut
Himself
The Phoenician Scheme
Director
The Wonderful Story of Henry Sugar
Director
Asteroid City
Director
The French Dispatch
Director
Isle of Dogs
Director
The Grand Budapest Hotel
Screenplay
Moonrise Kingdom
Directed by
Fantastic Mr. Fox
Directed by
The Darjeeling Limited
Written and directed by
The Life Aquatic with Steve Zissou
Directed by
The Royal Tenenbaums
Directed by
Rushmore
Written by
Bottle Rocket
Directed by
Blog Posts That Mention Wes Anderson
Cannes 2025 Announces Lineup with New Films by Ari Aster, Kelly Reichardt, Julia Ducournau, Richard Linklater, Wes Anderson and More
Book Excerpt: Foreword to The Wes Anderson Collection: Asteroid City by David Bordwell
Wes Anderson Evolves Signature Style in Four Netflix Short Films
Cannes 2023 Line-up Includes Wes Anderson, Martin Scorsese, and Many More
57th Chicago International Film Festival Announces Full Schedule; Wes Anderson’s The French Dispatch to Open
Bright Wall/Dark Room April 2020: The Contradictory and Complementary Visions of Wes Anderson and Roald Dahl by Ethan Warren
Bright Wall/Dark Room May 2017: “There’s Still a Lot of World to See: Reconnecting with Childhood Joy in Wes Anderson’s ‘Moonrise Kingdom'”
The Wes Anderson Collection, Chapter 8: “The Grand Budapest Hotel”
Wes Anderson and Owen Wilson remember L.M. “Kit” Carson
Stories within Stories: Wes Anderson Talks About “The Grand Budapest Hotel”
Grace-Infused: Notes on Director Wes Anderson’s Working Relationship with Actor Jason Schwartzman
The Wes Anderson Collection, Chapter 7: “Moonrise Kingdom”
The Wes Anderson Collection, Chapter 6: “Fantastic Mr. Fox”
The Wes Anderson Collection, Chapter 5: “The Darjeeling Limited”
The Wes Anderson Collection, Chapter 4: “The Life Aquatic with Steve Zissou”
The Wes Anderson Collection, Chapter 3: “The Royal Tenenbaums”
“The Wes Anderson Collection,” Chapters 1-7, and “The Substance of Style”, Chapters 1-5
The Wes Anderson Collection, Chapter 2: “Rushmore”
The Wes Anderson Collection, Chapter 1: “Bottle Rocket”
How Wes Anderson Made “The Royal Tenenbaums”: An Excerpt from “The Wes Anderson Collection”
Book trailer, web site for “The Wes Anderson Collection”
From the archives: the first profile of Wes Anderson and Owen Wilson
Moonrise Kingdom: Wes Anderson’s miniatures
Wes Anderson scavenger hunt: Truffaut, Welles, Peanuts…
West Side Story Leads the 2021 Chicago Critics Nominees
Touring Masterworks: Adam Nayman Discusses His New Book on Paul Thomas Anderson
Cannes 2023: Asteroid City, The Settlers
Cannes 2021: The French Dispatch, JFK Revisited, Three Floors
Thumbnails 1/16/15
The RogerEbert.com Interviews of 2014
Thumbnails 9/3/14
The art of darkness: Robert Yeoman on Gordon Willis
Thumbnails 4/9/14
Thumbnails 3/10/14
Thumbnails 3/6/14
Thumbnails 2/24/14
Thumbnails 12/10/2013
Kumar Pallana, 1918-2013
Thumbnails 10/08/2013
Thumbnails 10/4/2013
Pixar’s Moonrakers
If it’s springtime, it must be Cannes
The first slice of Cannes 2012
Watching movies again. And again…
And the Muriel™ for the Oscar™ for Best Picture goes to…
Puppet Nazis vs. the Grindhouse Gang!
Introduction to the 59th Karlovy Vary International Film Festival
June 2025 Blu-Ray/Streaming Guide: “Drop,” “The Nice Guys,” “Dark City,” More
Cannes 2025 Video #4: Brian Tallerico on Mission Impossible, The Phoenician Scheme, My Father’s Shadow, Secret Agent
Cannes 2025: Die My Love, Pillion, Miroirs No. 3
Restored and Rediscovered Festival Spotlights Organizations at the Forefront of Film Restoration
Movies without Tariffs: A Preview of the 2025 Cannes Film Festival
Apple TV’s “Government Cheese” is Almost Great
I Think Of Them As The Work: Gene Hackman (1930-2025)
Sundance 2025: Omaha, Bubble & Squeak
The Trauma of Inevitability: Brady Corbet and Mona Fastvold on “The Brutalist”
“Megalopolis” and “Joker: Folie à Deux”; or, The Virtue of Burning Money
TIFF 2024: 20 World Premieres We Can’t Wait to See
Elijah Wood and Ant Timpson on the Childlike Charms of Bookworm
The 10 Best Fourth of July Releases of the 21st Century
Fear, Hope, and Joy: Ramata-Toulaye Sy on Banel and Adama
Cannes 2024: The Weirdo Films of Cannes
It’s OK For Movies to Just End
Eye on the Screen: David Bordwell (1947-2024)
Oscar Predictions 2024: What Will Win This Year
Short Films in Focus: The 2024 Oscar-Nominated Short Films
The 96th Academy Award Nominations Are Announced, Led by Oppenheimer
Oscar Predictions 2024: What Will Be Nominated This Year
The Great Performances of 2023
The Ten Best Films of 2023
A Farewell and Tribute to Our Senior Editor, Nick Allen
Carlito’s Way Gets Excellent 4K Arrow Release with Commentary by Matt Zoller Seitz
TIFF 2023: American Fiction, Wicked Little Letters, The Critic
TIFF 2023: Sleep, Boy Kills World, Riddle of Fire
Home Entertainment Guide: August 2023
Apple TV+’s Murder Comedy The Afterparty Embraces a Playful, Imperfect Formula
The Best Films of 2023 … So Far
Cannes 2023 Video #10: Chaz Ebert Interviews Jeffrey Wright, DePaul University/CHA Youth Resident Filmmakers and More
Cannes 2023: Highlights of the Year’s Festival
In Conversation with Jeffrey Wright at the American Pavilion on May 25th to be Moderated by Chaz Ebert
Cannes 2023: Table of Contents
Cannes 2023: Exciting Films at This Year’s Festival
Colors of Film Deconstructs Visual Palettes of Cinema History
SXSW 2023: National Anthem, Molli and Max in the Future, Northern Comfort
Hunters Finishes the Chase With a Scattered Final Season
NYFF 2022: White Noise, Showing Up, Triangle of Sadness
Create the Legend: Erich von Stroheim’s Foolish Wives
KVIFF 2022: EO, Like a Fish on the Moon, The Eight Mountains, Father’s Day
James Caan: 1940-2022
The Annotated Table of Contents and Bios for Women Writers Week 2022
Bright Wall/Dark Room January 2022: Place Cliché by Nathaniel Missildine
Sundance 2022: A Love Song, Something in the Dirt, The Cathedral
Sundance 2022: Fire of Love, Riotsville, USA, La Guerra Civil
The Connection to Old Hollywood: Peter Bogdanovich (1939-2022)
Bright Wall/Dark Room December 2021: I’ve Had a Rough Year, Dad: The Unbearable, Beautiful Messiness of One Line in The Royal Tenenbaums by Matt Chambless
