
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.
Matt Zoller Seitz is the Editor at Large of RogerEbert.com, TV critic for New York Magazine, the creator of many video essays about film history and style, a finalist for the Pulitzer Prize in criticism, and the author of The Wes Anderson Collection. His writing on film and TV has appeared in The New York Times, Salon, New York Press, The Star-Ledger and Dallas Observer. (Banner illustration by Max Dalton)
Scott Jordan Harris picks his favorite piece of Roger's writing.
Anath White picks her favorite piece of Roger's writing.
Alfonso Cuarón's "Gravity," about astronauts coping with disaster, is a huge and technically dazzling film. But for all its stunning exteriors, it's mainly about what happens to the body and mind after catastrophe, and the moment when people decide to keep going or give up.
Book trailer for The Wes Anderson Collection, by RogerEbert.com editor Matt Zoller Seitz.
Why "Breaking Bad" viewers whitewash Walter White; Pandora just got worse for musicians; U.S. home care aides to be covered by labor laws; N.J.'s ban on self-serve gasoline; the world's first invisible tower; James Franco on all book covers.
This indie drama about a couple of Brooklyn stoners is less a story than a bunch of ideas or sketches on a theme, but writer-director Shaka King and his cast hold the viewer's attention through a combination of high spirits (pun intended) and phenomenal visual confidence. As a movie, it's iffy, but as a promise of things to come, it's worth seeing.
"Blue Caprice" gives serial killers the Sundance-style artfilm treatment. Directed by Alexandre Moors, it's a muted thriller based loosely on the so-called Beltway snipers, who terrorized the Washington, D.C. area and parts of Virginia for weeks in 2002. This is an intelligent and ambitious feature, but if Netflix had an "overthinking" it section, "Blue Caprice" would definitely qualify.
Treating never-before seen home movies by Nixon White House insiders as a visual spine for its tale, "Our Nixon" is an impressionistic account of the first American presidential administration to collapse in scandal.
The plot is nonsensical, the dialogue atrocious, the filmmaking mostly of-the-moment flashy, but the car chase thriller "Getaway" has a few great moments, and if there were an Oscar for wrecking police cars, it would definitely win.
From the archives: RogerEbert.com editor Matt Zoller Seitz reprints the first-ever profile of Wes Anderson and Owen Wilson, written for Dallas Observer in 1993