Noelle
Noelle has more going for it than just being one of the easiest ways for Disney+ to make a good first impression.
Cut to Black: "The Sopranos" and the Future of TV Drama, Part 6
Part 6 of "Cut to Black," a videotaped roundtable discussion about the end of The Sopranos and the future of television drama. Participants include RogerEbert.com editor and New York Magazine critic Matt Zoller Seitz, Huffington Post TV critic Maureen Ryan, A.V. Club TV critic Ryan McGee, and previously.tv contributor Sarah D. Bunting. The program was shot and edited by Dave Bunting, Jr.
Cut to Black: "The Sopranos" and the Future of TV Drama, Part 5
Part 5 of "Cut to Black," a videotaped roundtable discussion about the end of The Sopranos and the future of television drama. Participants include RogerEbert.com editor and New York Magazine TV critic Matt Zoller Seitz, Huffington Post TV critic Maureen Ryan, A.V. Club TV critic Ryan McGee, and previously.tv contributor Sarah D. Bunting. Shot and edited by Dave Bunting, Jr.
Cut to Black: "The Sopranos" and the Future of TV Drama, Part 4
Part 4 of "Cut to Black," a videotaped roundtable discussion about the end of The Sopranos and the future of television drama. Participants include RogerEbert.com editor and New York Magazine TV critic Matt Zoller Seitz, Huffington Post TV critic Maureen Ryan, A.V. Club TV critic Ryan McGee, and previously.tv contributor Sarah D. Bunting. Shot and edited by Dave Bunting, Jr.
Cut to Black: "The Sopranos" and the Future of TV Drama, Part 3
Part 3 of "Cut to Black," a videotaped roundtable discussion about the end of The Sopranos and the future of television drama. Participants include RogerEbert.com editor and New York Magazine TV critic Matt Zoller Seitz, Huffington Post TV critic Maureen Ryan, A.V. Club TV critic Ryan McGee, and previously.tv contributor Sarah D. Bunting. Shot and edited by Dave Bunting, Jr.
Cut to Black: "The Sopranos" and the Future of TV Drama, Part 2
Part 2 of "Cut to Black," a videotaped roundtable discussion about the end of The Sopranos and the future of television drama. This is the "Did Tony get whacked?" episode, in case you're wondering. Participants include RogerEbert.com editor and New York Magazine TV critic Matt Zoller Seitz, Huffington Post TV critic Maureen Ryan, A.V. Club TV critic Ryan McGee, and previously.tv contributor Sarah D. Bunting. Shot and edited by Dave Bunting, Jr.
Cut to Black: "The Sopranos" and the Future of TV Drama, Part 1
Part 1 of "Cut to Black," a videotaped roundtable discussion about the end of The Sopranos and the future of television drama. This chapter talks about the shock of first seeing the Sopranos ending, and viewers' reluctance to accept that it was meant to be ambiguous. Participants include RogerEbert.com editor and New York Magazine TV critic Matt Zoller Seitz, Huffington Post TV critic Maureen Ryan, A.V. Club TV critic Ryan McGee, and previously.tv contributor Sarah D. Bunting. Shot and edited by Dave Bunting, Jr.
World War Z
"World War Z" plays as if somebody watched the similar "28 Days Later" and thought, "That was a good movie, but it would be even better if it cost $200 million, there were millions of zombies, and the hero were perfect and played by Brad Pitt." Which is another way of saying that if you need proof that sometimes more can be less, here you go.
Don't Stop Believing: A Fan's Notes on the Passing of James Gandolfini
A remembrance by a fan of the late James Gandolfini, one of many people who never met him but was touched by his work, and by his presence.
Monsters University
If you were worried that animation giant Pixar was dipping into the same old wells too often ("Toy Story 3," "Cars 2," et al), the announcement of a prequel to their 2001 hit "Monsters, Inc." might have given you pause. Luckily, the result is more than reassuring. "Monsters University", which pictures Billy Crystal's one-eyed goblin Mike and John Goodman's fuzzy blue scare-master Sully as students attending Scare U, is true to the spirit of the original film, "Monsters, Inc.," and matches its tone. But it never seems content to turn over old ground.
Eight Films for which Roger's Reviews Made the Difference
