Roger Ebert

Film festivals are good for the soul. While the big ones like TIFF and Sundance can sometimes feel a bit like money machines, the little ones give oxygen to art. Even one where the altitude is high enough that there’s...

Three years ago, Clint Bentley and Greg Kwedar released their feature “Jockey,” an immaculate portrait of an aging horse riding (Clifton Collins Jr.) confronting his broken past and his bleak future. That gorgeously shot work, which combined stars with first-time...

Everything about Osgood Perkins’ “Longlegs” is designed to rattle you, unsettle you, and make you think about it hours or even days later. It’s a very purposefully exaggerated film, from the oppressive sound design to the heavily mannered performances, going...

There are lots of shows about trauma but few are as funny or as fun as the Onyx Collective’s “UnPrisoned,” now in its second season. If that sounds like shade, it is not. Loosely based on creator Tracy McMillan’s own...

When Jerry Seinfeld took the stage at the Kennedy Center in 2018 to pay tribute to Julia-Louis Dreyfus, who was receiving the Mark Twain Prize for American Humor, he told a story about the early days of “Seinfeld.” Before Louis-Dreyfus...

What if, like, food could talk, man? And what if they said swears and had orgies? Those sentences, I'm sure, billowed out of the presumably hotboxed pitch room of 2016's "Sausage Party," the too-raunchy-by-half adult animated comedy that featured rubbery food...

Filmmakers have dreamed about visiting the moon from the earliest days if cinema. French stage magician-turned-director George Méliès was the father of cinema special effects. His silent 1902 film “A Trip to the Moon” is still unsurpassed in whimsical charm,...

It is increasingly rare to find films in love with actors’ faces, and even rarer to find directors who know how to capture the way light contours around lines and eyes to tell the story of the character. Greg Kwedar’s...

""I can't act and I can't compose and I can't do visual effects, so I guess that's why I'm producing." That was what Jon Landau said when he accepted the Best Picture Oscar in 1997 for producing James Cameron's "Titanic." He made...

Sam Peckinpah’s “Pat Garrett and Billy the Kid” has about it an air of abeyance, of incompletion spurred by decades of mythology and rumor about its troubled production, contentious post-production, and the personal demons plaguing a director whose prickliness and...