Darkest Hour stands apart from more routine historical dramas.
Matt Fagerholm is an Assistant Editor at RogerEbert.com and is a member of the Chicago Film Critics Association. He
spent four years writing film reviews and interviews for
HollywoodChicago.com and has contributed to a variety of publications
including Time Out Chicago, The A.V. Club and Magill's Cinema Annual. His writing/editing experience includes serving as Assistant A&E Editor at the Columbia Chronicle and a full-time writer at the Woodstock Independent. He is a monthly guest on Vocalo radio's The Morning AMp program, and is also the founder of Indie Outlook, a blog and podcast featuring
exclusive interviews with some of the most exciting voices in modern
independent filmmaking. Follow him on Twitter at @IndieOutlook.
Amy Jo Johnson's "The Space Between"; In praise of Dan Pinto; How "The Fugitive" changed TV; "Battle of the Network Stars" oral history; Benefits of airplane movie-watching.
Theodore Collatos on "Tormenting the Hen"; Essay that changed film criticism; Who really directed "Tombstone"; True star of "Frasier"; Post-horror movies taking over cinema.
Matt writes: This month has marked the fiftieth anniversary of Arthur Penn's 1967 masterpiece, "Bonnie and Clyde." While many critics at the time were baffled and offended by the picture, Roger Ebert awarded it four stars, writing, "This is pretty clearly the best American film of the year. It is also a landmark. Years from now it is quite possible that 'Bonnie and Clyde' will be seen as the definitive film of the 1960s, showing with sadness, humor and unforgiving detail what one society had come to. The fact that the story is set 35 years ago doesn't mean a thing. It had to be set sometime. But it was made now and it's about us." Later that year, he wrote a piece taking on the film's naysayers, and in 1998, Ebert inducted "Bonnie and Clyde" into his Great Movies series. To commemorate the film's anniversary, writers at RogerEbert.com offered their reflections on the film's legacy.
Part II of our 2017 Pens to Lens Gala coverage, featuring remarkable short films written by students in Champaign-Urbana.
Part I of our 2017 Pens to Lens Gala coverage, featuring remarkable short films written by students in Champaign-Urbana.
"The Glass Castle" tidies up a disturbing memoir; Paranoid style; Watching "Dunkirk" with autism; Bill Pullman remembers John Candy; Last hurrah of "Beach Party."
Matt writes: One of the most praised films on RogerEbert.com this year has been David Lowery's audacious and unforgettable "A Ghost Story," reuniting the director with his "Ain't Them Bodies Saints" stars Rooney Mara and Casey Affleck. Brian Tallerico praised the picture upon his initial viewing of it at Sundance, and programmed it as the closing night selection at this year's Chicago Critics' Film Festival, where it played to a packed house. Tallerico later interviewed Lowery for the site, while Matt Zoller Seitz awarded the film four stars. Also worth a look is Noah Gittel's recent essay on Lowery and the "cinema of narrative displacement."
James Fotopoulos on "The Given"; Robert Taylor on "The Window"; Barbet Schroeder on "Amnesia"; The Dunkirk spirit; Hitchcock brings surrealism to Hollywood.
Matt writes: Chaz Ebert commemorated the 25th anniversary of her marriage to Roger on July 18th by republishing his unforgettable essay, "Roger Loves Chaz." She accompanied the post with various rarely seen wedding photos as well as the following video embedded below (entitled Joy).
An interview with actor Michael Cera, star of "Person to Person" and "Lemon."