
A Hidden Life
It’s one of the year’s best and most distinctive movies, though sure to be divisive, even alienating for some viewers, in the manner of nearly…
It’s one of the year’s best and most distinctive movies, though sure to be divisive, even alienating for some viewers, in the manner of nearly…
Bombshell is both light on its feet and a punch in the gut.
Roger Ebert on James Ivory's "Howards End".
"The Ballad of Narayama" is a Japanese film of great beauty and elegant artifice, telling a story of startling cruelty. What a space it opens…
An article about today's noon premiere of a new movie about architect Benjamin Marshall at the Gene Siskel Film Center.
An article about the screening of Horace Jenkins' "Cane River" on Friday, November 1st, at the Academy Film Archive in Los Angeles.
Scout Tafoya's video essay series about maligned masterpieces celebrates Steven Soderbergh's Solaris.
An article about today's noon premiere of a new movie about architect Benjamin Marshall at the Gene Siskel Film Center.
An FFC on Gavin Hood's Official Secrets.
A celebration of Yasujiro Ozu, as written by a Far Flung Correspondent from Egypt.
A tribute to the Oscar nominated character actor, Danny Aiello.
Our contributors share their Top 10 lists for the best films of 2019.
Roger Ebert has attended international film festivals and events for almost half a century, from the Kolkata International Film Festival to the Academy Awards. In addition to his coverage, our contributors report the latest from Cannes, Telluride, Toronto, Sundance and other movie showcases world-wide.
By Roger Ebert
TORONTO, Ont.—“Eastern Promises,” David Cronenberg’s highly- praised movie about Russian gangs in London and a midwife (Naomi Watts) protecting the baby of a mother who died in her arms, won the $15,000 Cadillac Audience Award on Saturday, as the most popular film at the 32nd Toronto International Film Festival.
The first runner-up was “Juno,” Jason Reitman’s much-loved human comedy about a pregnant teenager, her parents, and the prospective adoptive parents of her child. She was played by young Ellen Page, who emerged from the festival as a leading Oscar contender. The brilliant first screenplay was by Diablo Cody, an ex- stripper from Chicago and Minneapolis.
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Second runner-up up was “Body of War,” by ex-talk host Phil Donahue and Ellen Spiro. A documentary about a U.S. soldier paralyzed in Iraq, who changes from gung-ho warrior to anti-war activist, it has some parallels to “Born on the Fourth of July,” about a paraplegic Vietnam veteran.
“Eastern Promises” opened Friday to some of the best reviews of the year, and is considered the most accomplished work of Cronenberg, the Canadian who is on a roll after “A History of Violence” two years ago. Compared to “The Godfather,” it stars Viggo Mortensen in another performance that seems certain to be nominated.
The Toronto festival has no official jury like Cannes. Instead, moviegoers members vote on the Audience Award, in a process adjusted to account for theater sizes. Many other awards are given by local and national groups, on their own.
The $30,000 Toronto City Award for best Canadian feature went to Guy Maddin, the unconventional Winnipeg filmmaker, for “My Winnipeg,” an impressionistic combination of the city’s history and his own life.
The $15,000 CityTV award for best first Canadian feature went to Stephane Lafleur’s “Continel, Un Film Sans Fusil,” about a man who disappears in a forest, and the four people affected by his disappearance.
The International Critic’s Prize went to Rodrigo Pia’s “La Zona.” The $10,000 Artistic Innovation Award went to Ahani Bemeri’s “Encarnation,” The $10,000 Diesel Discovery Award went to Israel Cardernas and Laura Amelia Guzman’s “Cochochi,” an adventure by two young brothers in Mexico.
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The best films of 2019, as chosen by the staff of RogerEbert.com.
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This message came to me from a reader named Peter Svensland. He and a fr...