This is rare, nuanced storytelling, anchored by one of Brad Pitt’s career-best performances and remarkable technical elements on every level. It’s a special film.
Matt Zoller Seitz is the Editor at Large of RogerEbert.com. He is also the TV critic for New York Magazine and Vulture.com, and a finalist for the Pulitzer Prize in criticism. His writing on film and television has appeared in The New York Times, Salon.com, The New Republic and Sight and Sound. Seitz is the founder and original editor of the influential film blog The House Next Door, now a part of Slant Magazine, and the co-founder and original editor of Press Play, an IndieWire blog of film and TV criticism and video essays.
A Brooklyn-based writer and filmmaker, Seitz has written, narrated, edited or produced over a hundred hours’ worth of video essays about cinema history and style for The Museum of the Moving Image, Salon.com and Vulture, among other outlets. His five-part 2009 video essay Wes Anderson: The Substance of Style was spun off into the hardcover book The Wes Anderson Collection. This book and its follow-up, The Wes Anderson Collection: Grand Budapest Hotel were New York Times bestsellers.
Other Seitz books include Mad Men Carousel: The Complete Critical Companion, The Oliver Stone Experience, and TV (The Book). He is currently working on a novel, a children's film, and a book about the history of horror, co-authored with RogerEbert.com contributor Simon Abrams.
The first theatrical feature film written and directed by David Chase, the creator of “The Sopranos,” this is an autobiographical tale about the formation of an artistic sensibility. John Magaro plays Doug Damiano, a northern New Jersey teenager whose father Pat (James Gandolfini) is a hot-tempered Archie Bunker-style reactionary who suffers from psoriasis, and whose mother Antoinette (Molly Price) is a depressive who regularly threatens to kill herself. The movie is narrated by Doug’s sister Evelyn, played by Meg Guzulescu, in the manner of a third-person novel, packing a television season’s worth of incident into an hour and 50 minutes yet somehow never feeling rushed.
An interview with author Sady Doyle.
Underrated in the manner of so many Steven Spielberg historical dramas, “The Post” is a journalism thriller that doubles as a stealth portrait of the media’s responsibility in the age of Trump.
From a childhood of pain, a lifetime of art.
When I was a college student in Dallas in the 1980s, my favorite theater was the Big Town, which showed second-run movies for a dollar. It was located in a small, run-down mall that probably hadn’t been thriving for 10 years. By the time I started going there, there were potholes and canyon-sized cracks in the parking lot that were never going to be fixed, so you just made a mental note to drive around them. Most of the storefronts were boarded up, and the handful of spaces that were occupied were Mom and Pop businesses. There were people in the parking lot on the way in selling churros and pralines and BBQ they’d cooked in the backs of pickup trucks. One time a chicken got loose and ran through the mall. Kids chased it like it was Rocky Balboa in a training montage.
Appreciating the art of one of the greatest documentary filmmakers.
RogerEbert.com contributor Godfrey Cheshire talks about his new book Conversations with Kiarostami, a collection of his interviews with the legendary Iranian director.
Dashing or menacing, depending on the role, Rutger Hauer was a one-of-a-kind screen presence.
A nightmare movie ruled by nightmare logic, and gorgeous from start to finish.
Go ahead and scream. No one can hear you.