Avengers: Infinity War
A good movie that buckles beneath the weight of its responsibilities to the franchise.
Matt Zoller Seitz is the Editor-in-Chief 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.
A new video essay explores the uncanny durability of "Invasion of the Body Snatchers"
Starring Dwayne Johnson and other giant creatures.
On the legacy of 2001 and Roger's writing about it on the film's 50th anniversary.
A hilarious film about a subject that's not funny at all.
It's not uncommon to feel blue.
The RogerEbert.com staff pick for Sunday's Oscar for Best Picture.
A rare superhero fantasy that's plugged into the real world, but that still can't be all things to all viewers.
Very few of the films or TV shows I write about are as fascinating and full of unruly life as the encounters I have every day in the city.
A story about the meanest man in my old neighborhood and how he became less mean.
Todd Haynes' latest is a near-silent film with passages of great beauty but a concept that never quite gels.